The dramatic art of Lope de Vega, together with La dama boba

■iiiliiiiiiii:!^^^^^

•••^"VERSITY OF CALIFORNIA PUBLICATIONS

IN

MODERN PHILOLOGY
340

August 22, 1918

HE DRAMATIC ART OF
LOPE DE VEGA

TOGETHER WITH

LA DAMA BOBA

hi.ii-.j

EDITED, FROM AN AUTOGRAPH

IN THE BIBLIOTECA NACIONAL

AT MADRID, WITH NOTES

BY

RUDOLPH SCHBVILL

UNIVERSITY OF CALIFORNIA PRESS
BERKELEY

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UNIVERSITY OF CALIFORNIA PUBLICATIONS

IN

MODERN PHILOLOGY

VOLUME 6

CHARLES M. GAYLEY

H. K. SCHILLING
RUDOLPH SCHEVILL

EDITORS

UNIVERSITY OF CALIFORNIA

BERKELEY

1918

THE DRAMATIC ART OF
LOPE DE VEGA

TOGETHER WITH

LA DAMA BOBA

EDITED, FROM AN AUTOGRAPH

IN THE BIBLIOTECA NACIONAL

AT MADRID, WITH NOTES

RUDOLPH SCHEVILL

UNIVERSITY OF CALIFORNIA I'RESS
BERKELEY

1918

TO
JUAX C. CEBRIAN

SOX OF SPAIX, CITIZKX OF THK IMTKD STATHS.
HOXORED AXD LOVED IX BOTH COLXTRIKS FOR H[S
SIXGLE-MIXDED DEVOTIOX TO EVERY XOHIJ'. CAl SK.

PREFACE

The large amount whidi Lope de Vega \vr(.ir for ih,- stage
manifestly demands a voluminous study of liis art to do liiin full
justice. The limited essay here presented may conscfpn-ntly he
considered inadequate, and many points whicli could or ouglit
to be included will be missed. Of that I am awan-. lint within
the confined scope of this attempt my object ])ccaMi.' Iwofold:
first, to indicate by brief hints along what lines a mon- dctailfcl
investigation could be instituted by someone better fitted than
myself, and second, to have, at a future date, some justification
for continuing an examination of the many items of interest
which Lope constantly suggests. I have refrained from comparing
the great Spaniard with other master writers for the theatre, for
the obvious reason that it seemed to me more impoi-tant to out-
line first an objective presentation of the material di-rived from
Lope himself. Comparative studies in literature are futile and
unprofitable to the reader who is not well acquainted with all the
elements compared. Moreover, comparisons frequently lead to
unjust conclusions Avhenever they attempt to prove that one
writer is greater than another instead of analyzing in an unbiased
manner how their delineation and interpretation of life are re-
lated. The offhand assertion is frequently to be met with that
Moliere and Shakespeare are much greater than Lope de Vega,
and yet the writers of such statements too often repeat merely a
traditional catch phrase; they do not prepare the grotind by a«ld-
ing a just and indispensable picture of the econoniie and social
background which accounts for nnieli tliat is unii|nr in L<)|.r .ir
Vega's art. The most satisfactory studies of Aristophanes.
Shakespeare, Moliere and other master playwrights are those
based on direct objective analysis of their productions, and the
principles or formula of their ai-t. With these before us. a com-
parison may profitably be instituted which will further illuminate
their methods of composition or reveal the extent to whieli th.-y
held a mirror up to the form of society in which they moved.

A «'«)mparati\r stiiily nuiy also lie at liiiiptcd. which irlalcs
liOpr to his pn>il«'i*«'ssors in the iiatidiial thcairr of Spain. His
imIrhttHliH'Ss ill this coiiiicrtioii is not cxccssiNc, hut a fairful
ctunpjirisoii iiuikcs cvith'iit the coiiliimity ot" a mmihcr of fcaiuifs
ill Spanish dramatic art. fcaliu'cs related, tirsl to llie leclmieal
side of coiiiposit ion. ami second, to the aiiiph' scope wliicli char-
acterizes the popular dramatic formula of the sixleeiilli a!i<l
.sev«'ilteelith centuries. I refer espeeiallx to the i)i-eak with classic
tradition and precept, and the <;iadual disappearance of the |)rin-
eiple of limitation in sul).)ect matter lit for the sta^c. The linal
pro«rramme of tiie drama of the (lolden A^'e included evei-y con-
ceivable plot taken from history, lictioii, le<;end myllioloj^y and
the like. Lope is a lineal descendant of a nioi'c primili\t' and a
cruder art and iiothin«f is more astonishinf^ than the many inno-
vations for which lie alone is responsible. lint in s|)ite of all the
features in which he may be compared with eailiei' |)laywri<j;hts to
his decided advantage, one stands out pi'ei'minenlly, his undeni-
able superioi'ity in poetic endownu'ut. The key-note to his ci'ca-
tion is freshness and constant inspiration; the i)romineiit trait
of the majority of his precursors is their lack of originality : they
could not lose .sight of something to imitate, they seem too often
forced to toil and keej) vigil in the hope that some divine afflatus
may raise their eftorts al)ove the connnon level. In slioi-t, men
like Bermudez, Argensola. Juan de la Cueva, Virues, jMiguel
Sanchez and Cervantes seem to be feeling their way, attempting
forms of dramatic expression unrelated to any well-conceived
ai-ti.stic formula. Their theatrical gifts, though very pronounced
in isolated details, never crystalized into any well-rounded con-
ception : they were generally overwhelmed by a lack of restraint
and nullified by disregard of balance and form. It would be
futile here to point out the noteworthy exceptions among Lope's
jn'edecessors, those playwrights who revealed in an occasional
trait the evidence of genuine artistic gifts. A study of their
productions could present with much profit not only the growth
of numerous metrical forms and technical flexil)ility of tlie drama
of the Renascence, but the origin of various elements which
portray the outward aspects of Spanish life. In these two fea-
tures, poetic charm and sparkling popular dialogue, Lope's

worthiest ancestors were Gil Vicente and Lopt* de Hiieda. No
comi)arative study would be complete wliieh does not exiiaustlvcly
deal with these two prominent names. The main diffrrem-e ln--
tween the teatro antigno of the sixteenth century and tiie work of
Lope may thus be said to be this, tliat wliilf the foiiiii-r is char-
acterized by a constant striving towaid more adi-fpiati- dramatic
expression, Lope's work represents fidlest achievement. Tin-re
is hardly a feature in the drama of his contemporaries or suc-
cessors, which cannot be found in eml)i'yo. at least, in Ids vast
formula.

In giving excerpts from Lope's plays, 1 strove to select pa.ss-
ages which would best illustrate my argument, even if taken
from comedias not unknown to readers of Spanish literature. Tin-
majority of citations were taken from the accessible collection in
the Biblioteca de Autores Espaiioles, unsatisfactory as this is,
because the reader who approaches Lope as a new field of study
could more easily obtain and read those plays. I have made no
effort to be consistent in the matter of accents on vowels, because
my quotations, taken from a vai'iety of texts pi-inted in nmny
different epochs, could not be standardized.

My thanks are due to Dr. Hills of the Hispanic Society of
America, who with unfailing courtesy sent me transcriptions of
items to be found in the library which he directs ; to Mr. F. E.
Spencer and Miss Patricia Moorshead, former students of the
University of California, for collating plays and passages for me
in the Biblioteca Nacional at Madrid, and to my colleagues, Pro-
fessor Herbert Cory, Professor Jaen, and Mr. Eugene Joralemon
for their valuable assistance in reading proofs.

Berkeley. Califorxia. January, 1918.

CONTENTS

I. The dramatic art of Lope de Vega

Introduction 1

Lope's dramatic art: the formula of art versus the formula of

human life ; 10

Inheritance and tradition manifest in the characters 17

Inheritance and tradition manifest in specific traits of Lope's plots 2tl
Artificial devices in the technique: balance, the duplication of

groups or combinations of personages 34

Poetic language and thought: Conceptismo and Culto 4<i

Lope's learning: the influence of the classics r.7

Lope's acquaintance with contemporary literature 71

Some technical features of Lope 's art : exposition, plots, recurring

themes y

Dialogue, monologue and narrative 80

Characters and customs _ 101

Two examples of Lope's Comedia: a tragedy and a comedy 113

II. La Dama Boha 117

The autograph 124

Variants of the first edition of Madrid, 1617 129

La Versificacion 141

Acto I 143

Acto II 179

Acto III : 212

Notes ^ - — - 251

Index 339

BIBLIOGRAPHY

Lope Felix de Vega Carpio.

Obras, edition of the Royal Spanish Academy, Madrid, 1890-1914, M
vols.; vol. I, witli a biography by la Barrcra, and vols. II-XIIT,
with prefaces by Menendez y Pelayo.

Eestori, a.

Critical reviews of tlio preceding edition in Zritschrift f'tir rnmanische
Philologie, 1898-1906.

Rexxert, H. a.

The Life of Lope de Vega, Philadelphia, 1904.

Rennert, H. a.

Bibliography of the Dramatic Works of Lope de Vega Carpio, based
upon the catalogue of John Ruttcr Chorley, in Rrvue hi.tpanujur. 191.").

Uen.nkkt, M. a.

Till* ^tn^iii;;; ot" Lope tic Vcjjii 's Comcdias, in Ixi nii liisininiqiti', T.H)ti.

Renxekt, II. A.

Tlu« Spanish Stn^o in tlu- Tiino of Lopo ilo \'ou:i, New Vink, l!H)i>.

Mi>rki.Fatu>. a.

L4i •'C'oiiuvliii ' ' t'spa^jnoli' ilu X\'1I sii'di', I'liris, 1S85.

Morki,Fatio, a.

Lo8 ori^int's "lo l.opo >1«' \'fi;:i, in liiilhlin /h.n/'K/ik/ik , liHi.").

C'HORI.F.Y. .1. K.

Jdtiniiiuiii, NovcmiImt. 1>s."i;1; and l-'msti's M<i(i(i:iii< , vols. ."I'.t ami (id,
18r.l).
Okmsby, J.

Lope (le Vcjra, in Quiird rh/ liiviiiv, 1894.
Fitzm.mrh'K-Kem.y. .1.

Lopo tio yv<i:i anil tlic Spanisli Drama. (Tayloriaii l^octuro) Lomlon,
1902.
Fitzmai'rice-Kelly, J.

Chapters ou Spanish Litoiaturo, (Chap. VII), Lomlon, 1908.
BoNii.LA Y San MartIx, .\.

IntroiliU'tion to his edition of Pcribancz if el Comcndador ilr Onniii,
Madrid, 191().
Buchanan, M. A.,

At a Spanish Theatre in the Seventeenth Century, TJic Vnivcrsitij of
Toronto Monthly, 1908.
VON SCHACK, A. F.

Gesehichte der dramatiseheu Literatur uiul Kuust iu Spauieu, 2nd edit.
enlarged, Frankfurt a. M., 1854. This work has been translated into
Spanish by E. de Mier, Madrid, 1885-1887.
ScHAEFFER, A. Geschielite des spanischen Nationaldramas, Leipzig, 1890.
Farinelm, a.

Grillparzer uud Lope de Vega, Berliu, 189-1.
Klein, J. L.

Gesehichte des Dramas; Das spauisclie Drama, vols. VIII-XI, Leipzig,
1871-1875. This work is unfortunately written in au involved and
repellent style.
For full lists of titles ef. :
Fitzmaurice-Kelly", J.

Historia de la literatura espanola, Madrid, 191fi, pp. 358, 436.
Cejador y Fracca, Julio.

Historia de la lengua y literatura espafiola, vol. IV, Madrid, 1916,
pp. 69ff.

THE DRAMATIC ART OF Lol'K \)K VK(}A

INTRODUCTION

The opinion is widespread that it is impossible for iiuy Iiuhimii
being to reach a fair and comprehensive estimate of thi- drainatic
art of Lope de Vega on account of the unlimited number of
comedias wliich he has produced. In othii- woi-ds. one of his
chief claims to endui'ing fame, his superhuman ])i-oductivity,
turns out to be the main obstacle to any satisfactory study of
his plays. He frightens students away. Nevertheless, this alleged
reason for neglecting Lope and liis art is, 1 am now convinced,
merely one of several minor ones, which hardly weigh in the
balance against a single overwhelming cause: tlie incredibly
unattractive state of his printed works. And tbis fact touches
human nature in its most vulnerable spot. After many years
of fruitless effort to interest my students in Lope in any per-
manent or productive sense, I hesitate to send them any longer to
our libraries to consult the available editions of his j)lays. Ts
this not an inexplicable fault in the record of Spanish studies
the world over ? Can we point to the works of any truly great
playwright of other nations, and affirm that the same is true?
Are not scores of editions of Shakespeare, Goethe, :Moliere or
men of less fame, to be had in various acceptable forms? In the
case of Lope, on the other hand— sui-ely one of the world's most
fascinating geniuses — the record sliows chiefly biographical or
bibliographical studies and, as regards the plays themselves,
either intermittent series of collections, or an occasional repruit
of a single comedia. The volumes of the former are for ibe
greater part misguided efforts which have been highly successful
in keeping his works peacefully shelved.

Take, for example, the question of Lope's autograph maini-
scripts, which under all circumstances must form the beginning
of any conceivable investigation of his dramatic art. Is it iiot
natural to suppose that they would all be accessible in eritieal

2 /'/M.W.I //< .iA'7 <H'' i.oi-r: /'/•; ri:<;.i

t'tlitions. 01* sonu' form of n(lf»|iiiilt' rt'priiit ? Yd in flic face
of this (-ryiiiy: ihmmI om- ftforts liavf Ix'fii s|)t'iit. foi- llic most part,
on plays alri-atlx' |)riiitctl in a t'ltiiii wliidi dors not <;ivt' us tlu'
fuiitlamt'iital rom't-ptioii of liis maimer of creation. This implies
no eritieism of the results already olTei-ed ; it is rather an expres-
sit)M of i"ej;ret that the limileii eiierLrii's and enthusiasms of
Sj)anish si-holai's shouM he thus scattered, and not directed to a
sin,i;lc end. We shall ncvci- have even a working edition of any
great Spanish \\ritci\ if these disconnected methods of stutly \u'V-
sist. The task is enoiiiious, to he sure, and life very hricf ; our
juilgmcnts arc crrinj;, and critics ever ready to tell us so. Yet
it is inconccivahle that so wealthy a literature as the Spanisli
should not stir us up to ever inci'casinf; eft'oi-ts in order that its
history and its uuistei" minds may he illumiiuiti'd ; ])ut we are
hindered hy the imperfect state of our tools, and a lack of cour-
age and concerted energy to make them hetter without delay.

It is with trepiilation that one begins to speak of any of the
pi-inted versions or collections of Lope's comcdias. The most
easily accessible collection, the four volumes contained in the
Bibliotica dr out ores cspunulcs, cannot be passed without praise
iu so far as it represented a commendable effort to gather his
widely scattered productions. Nevertheless, this edition cannot
be recommended to the average student. The diminutive type,
the brittle paper, the crowded page in triple column, the num-
erous inaccuracies, which are apparent especially when compared
with autographs or early editions, all seem to have been devised
to make Lope repellent. In the case of the plays included in the
Obras Sueltas, printed by Sancha in the eighteenth century, we
have a more acceptable format ; this set has the disadvantage,
however, not only of being relatively scarce in our libraries, but
of containing dramas which manifest no judicious selection or
absolute trustworthiness of text. And what can be said to con-
done the mountainous edition begun by the Academy? Much has
already been written concerning the defects of the collection, its
untoward size, its heavy, thick paper, its inaccuracies even where
an autograph could have served as a basis. (Compare, for ex-

BEAMATIC AFT OF LOPE DK VEGA 3

ample, the printed version of cl Bastanh, M,i<hirni witli Lop.-'s
original.) I shall, therefore, add no additimiiil, <rr;il nitons won!
of blame; and indeed were it not for the uii.'(|uall.Ml and im-
mensely stimulating introduetions by tlie late .\b'm'ndr/. y P.-iayo.
one would be tempted to pass over the edition in silence. As
regards the continuation of tlie Academy's project the volumes
which have appeared up to date only awaken feelings of pain and
regret. No principle can be falser than that enuMciat«'d l»y the
Academy's editor when he says tliat it is essential to |)ut)lisli all
the works of Lope; no text can be more unweleome than an
unreliable one; no edition of twenty plays per vohuiie can be
manageable ; no volume can be of as little service as one that will
never be read. Does it not seem that we are face to face once
more wdth an amateurish project, Mhich, if not modified at one*',
will again miscarry, and leave only the discouragement which
follows every abortive effort? There are thus pi-()l)lenis whieh
always confront the Spanish student and which tleserve a jti-oinpt
solution. Is this collection to be forever a torso; can the latest
venture be carried to a successful issue ; is Lope never to receive,
if only in part, what is his due ?

Perhaps I may be forgiven for inserting at this point a ])lea
to the distinguished members who compose the Royal Spanish
Academy (de la lengua) and with such authority or prestige as
my name may possess, be these ever so slight, urge upon them that
something fruitful be determined at once. I speak out of my
great love for Spanish letters and because, as scholars are aware,
the steps already taken to bring out some of Lope's works have
been singularly potent in killing any latent interest in his art.
Why not proceed forthwith to make good this lamentable defect?
Surely Lope has precedence over many other literary iiuittei-s
in which the Academy has shown great generosity and upon
whieh it is no doubt willing to spend its funds. A committee
could be first appointed to examine very carefully the actual
condition of affairs; it could then make a practical re|)ort on
what must be done to assure students of Lope that a rea<hi]ile
working edition of his comedias will see the light. The basis of

4 />/.•( W.I y/r .!/;/■ (H' i.ori-: /'/•; ikca

any siicct'ssful project slumlil Ix- easy lo tlclf'iiiiiiif siiicr it
(Icpnitls ciitirt'ly on a jiuiicioiis sclcctioii of plaxs sunicinii lo
^'ivr a coinpi't'lu'iisivc idea of his diaiiiatic art. on a paiiistai<iii^
reprint of that sflcction, and on a form siiiiph' and attractive.

v\s regards a rareful seU'ftion of liis best |)hi\s. this is fcasilih'
and hijj:hly (h'sirahlc since it eh-ais away niiicli th'ad weij^ht.
After readinjr avaihil>h' jdays and forniin^z' an oi)ini(>ii nf I.ope's
art. no new i)lay wliieli 1 have been ahh- to find and i-ea<l, lias
modified my eonehision. This mnsf also be the exi)ei-i(»nce of
others, and means that the hiri^e lunnlx'f of Lope's phiys is no
drawback to printing]: an edition of his best comcduis. Pei-liaps
the sntrp'stions of those who know Tjope may aid in making out
an admirable list of plays. At all events, would not thirty or
forty small volumes, each containing at the most three plays, care-
fully rejirinted, and, if need be, without notes or introduction,
be a greater monument to Lope than any other that critics could
devise ?

In connection with the manner of reprinting his Avorks, it
must be remembered that no arbitrary procedure can ever again
make Lope a modern, that the body of readers who will study him
intelligently and sympathetically must ever remain small — no
unusual fate for the greatest of our writers — and that a depend-
able reprint of the best available texts, not modernized, is all
that can be asked.

Finally, the format of the edition may be easily determined,
if its main purpose be never lost from view, namely, to place a
scholarly selection within reach of &r\y student of Spanish letters
the world over.

May this ardent hope be realized in the near future !

Various editions of single plays need not be mentioned here
as they hardly change the facts presented regarding the lack of
opportunity to study Lope's art. Moreover, when we come to
examine into the state of Lope criticism, we are but little better
off. The reader who hesitates to form his own opinion of Lope's
dramatic gift, invariably goes off on a still hunt for aid, and
presently returns with the opinions of Schack, or Ticknor. or

BBAMATIC AL'T OF LOVE 1)K VUCA 5

Choi'ley, or Menendez y Pelayo, or of sonic auilioi- wlio d.Tiv.-s
from these. Nothing can be more disheartening to a teacher, and
when recently a student returned with a rcvanipcd opinion ex-
tracted from the above critics. I determined to Uiy aside for a
little while all other work begun, in order 1o ease my troubh-d
soul in this matter. Let me begin l)y stating very clearly tliat
I have no desire to belittle the great work of these men, notably
that of Menendez y Pelayo whose unfinished series of essays on
Lope will ever make evident to us how irreparable is the loss of
his uncompleted studies. But some of the criticisms i-eferred to
above were set down three-quarters of a century ago. and uiany
of our points of view, as well as our infornuition, have greatly
changed since then. Perhaps I should be less weary of it all, if
I had not had it served up to me in various forms with rarely a
new point of view.

In Germany the words of August Wilhelm von Schlegel and
Schack are still religiously repeated from generation to genera-
tion, and we are taught to believe that thi-ough tliem the last
word on the Spanish drama has been said. Indeed the world
knows how many admirable things these eminent judges have set
down, and that their praise of the classic Peninsular theatre far
outweighs any adverse criticism they may have uttered. P>ut
the motive power which formed their opinions was not infre-
quently an uncritical enthusiasm. This had its roots in the ro-
mantic movement, and leaves us unconvinced today. As regards
Schlegel's dicta especially I recall an experience of my stiident
days in Germany which shows how deeply fixed a point of view
may become even among scholars. When I ventured in class to
express my doubts about an assertion which Schlegel had nmde
concerning the nature of the Spanisli drama, I received the cold
reprimand : "An der Kritik dieses Manncs ist nkhis zu riittcln."
Perhaps so. But I have ever since been possessed by the desire
to give the reputation of that worthy old gentleman a little shak-
ing down, if only to help in destroying forever the principle of
Nachheterei. Schack, for his part, set up a comprehensive system
of dramaturgj^ inspired by a comparative study of the world s

fi inriM.HK .1/.'/ or i.uri-: />/•; r/.v.i

tlit'jitrr aiul folorrd l)\' liis ardt-iit lovf for those priiiii|»lfs of llic
romantir movciin'iit wliicii \v«m-»' in vd^uc (lurinjjf liis yoiitli. Hav-
ing; jrathtTfil imimmTal*!!' (liamatic clfinciils or roiiiiulac icprc-
sciiti'd liy spt'cilic phrases siieli as tlie drawiiiu: of cliaraetei's, llie
tlevehipmeiit of ph)l. tnilli to natiwe and aelnal society, psyeho-
lojjical exeeMenee. earei'nl exeenlion of drtails. variety of moods,
and scores of others, lu' thereupon lilted liOpe into the system.
It is evident from tlie hcfjiiniin^ tiiat SehacU has set np speeitie
standards and that he is i^oinji: to a(hipt his favoi'ite antiiors to
his ith'alized scheme. In the case of Jjope this is iiiisleadinir, espe-
cially for students who are not ac(piainted with liis ai"t. It is
certainly an illo<;ical ]u-ocednr(^ to eonci'ive an ideal dramatnrgy
nnd then look ahout and see which authors satisfy most elements
of the f(trmula. Lope's individualil \', liis itis|)irat ioii. were so
jieculiar and .so oi-i«;inal that to grasj) him in his entii'ety we must
start, if we wish to ex|)lain him, not from a <i^enei-al scheme, hut
with a purely ohjective analysis of what he wrote: not hy con-
ceiving principles which he never had or, at least, never lived
up to. but l)y noting the specific elements or phenomena which
constitute the unwritten formula of liis ai't.

In America we point with pride to Ticknor, our first Spanish
scliolar, who wrote at about the same time that Schack i)roduced
his history of the Peninsular drama. Tieknor's analysis of the
Spanish stage, notably of Lope's art and works, still finds many
readers. But his presentation could not exceed in quantity what
seemed compatible with the entire history of a nation's literature
and consequently is very inadequate, especially today. Nor
have we in this particular followed up the fine tradition of
Spanish studies which he established by making any attempt at
a comprehensive study of Lope's dramatic art. We have — beside
^Ir. Rennert's excellent biographical and bibliographical works
— a number of brief monographs to our account which, however.
do not claim to do him full justice. Ticknor, too, measured Lope
by the conventional rod of his day. Owing to his sane tempera-
ment, his poise, he never reached out for glowing colors to express
his s>Tnpathy, nor did he ever exceed the bounds of cool and fre-

BEAM AT IC AliT OF LOPJC !)/■: iKcj -

(liu'iitly very dry exposition; l)iil Ik- tioiic Hi." l.'ss sliows i-vn-y-
where that his vast eai-ly i-ea(lin<,' reposes on romantic fonnda-
tions, that his sympathies are with sueh elements of dramatic art
as have been customarily emphasized by the chief exponents of
that movement. This is all quite logical. Ticknoi- wrote wlim
literature in England and especially in America liad not yet
drifted away from romanticism, and litei-ai-y ci-iticism fre(|iiiMitIy
held up standards based upon "the warm and passionate produc-
tions of southern Europe." A Petrarch, or a (Jalderon especially,
seemed to vindicate these standards, and the romanticists were
able to turn to account in their theories many of tiie salient traits
of Italian and Spanish literature. It would be absui-d to deny
that Lope has any of the (pialities which found an echo in the
romantic movement. l:>ut to explain Lope's dramatic ai"t in llie
light of romanticism would be equally so. In Ticknor's opinion
a number of the plays which he discusses, present a faithful
picture of Spanish society. When I come to speak of Lope's art
I shall try to show that this is not convincingly so, and that such
assertions made without qualifications are exceedingly mislead-
ing. But this opinion was, and still is, one of the holibies of
dramatic criticism, to find wherever possible "a delicate observa-
tion of local or national customs."

England has given us Chorley's admirable exposition of the
character of the Spanish stage; few scholars have labored over
Lope and his bibliography as sympathetically as he and a great
many of his affirmations are, therefore, highly suggestive. P>ut
I must emphasize again, that I am speaking from the point of
view of the teacher who is attempting to make Lope attractive
to the average student. From this point of view Chorley's atti-
tude is often a poor guide because he reaches back altogether too
far to explain matters directly before him. For tins reason it
is difhcult to agree with those who thiidc it necessary to (piote
Chorley whenever Lope's art is discu.ssed. It has from timt> to
time been the habit of English critics who have follow.-d in
Chorley's footsteps to call Spanish society "essentially supci--
ficial," one to which "the occasioiml moment of iibilosojthic re-

s in;AM.tTic .ti:r of ion: ni: ri-.a.t

ri«'i'tii)n is uMcoiifrcnial.'* By tlu's»> and siniilai' asst-rtions the
Spaniard naturally fjrts the inijjression that such foreign critics
are ehi«'riy impressed with tlu' fact that they tlienisclves. on the
other hand, hdong to a society essentiall\' profouiid, ami the
UKxiern student is thus introduced to those unloi'tunate Miitaj^on-
isnis wiiicli go hack to tiic days of Queen Kli/aheth. Sueli plii-ases
also constitute an easy \va\' of explaining our inaltility to do
justice to the principal features of an art as peculiar as that of
Lope de Vega. Chorley, moreover, aj)i)lies methods of liistorical
and philosophical analysis whieli seem tojj-heavy to the beginner
Iti'cause he i-eaches hack to llie eai'liest ciMide ]»luises of Sjianisli
I'ultui'c to explain a great art of the seventeenth ecntui'y. No one
today is seriously inclined to base his judgment of the culture
of the Peninsula on Buckle's brilliant chai>ter on Spain, to be
found in his History of Civilization. And yet a great deal of
Chorley has the ring of Buckle, for however true the latter may
he here and there he has for the most part become old-fashioned ;
he prestMits an attitude wliieli we can no longer accept unless
renovated by a few new ideas. The following quotation will
explain best what I mean by Chorley's reaching back too far to
explain the character of the Spanish drama. He is talking of
the "intenseh' self-conscious individualism"" of the Spaniard,
and continues:

In the earlier times it presents itself without disguise in the form of
personal independence and fiery self-assertion; and from its action on the
general ideas of worth and duty diffused throughout Europe, by the
development, on the feudal basis, of the institution of Chivalry, may Vje
deduced the qualities involved in the Castilian type of honor — overween-
ing self-assertion, punctilious resentment of offence, jealous maintenance
of privilege in title and office, the importance attached to purity of
blood and the high sense of the obligations annexed to the claims of
nobility. On this ground, the mighty influences, political, social and
moral, let loose by the turn in Peninsular affairs that began in the days
of Ferdinand and Isabella, have, at the period which concerns us, now
been working for more than a century; and a strange work they have
made! What was once rude, simple and vigorous, has become in some
respects fancifully refined, in others altered or weakened, in all vastly
complicated. It is a combination in which relics of the ferocity of war-
like ages, and of the wild ways of personal independence, are mingled

DL'AMATir ART OF IJ)l'E IH: lEGA 9

with the courtesies and caprices of a time of luxury and f»stciitatioii, an-l
forced into unnatural shapes by the high itrcssure of .Icspotisin in [State
and Church.

Pare usted la hurra, we unconsciously cxelaiin ;it this ixiiiii,
come back to our own days and tlie matter in luind. For alt.-r
all is said and done, to have Lope's art thorouf,'hly illiiniiiiatrd.
we need go only to his own comedias. Lope explains r>ope Ijettrr
than the days of Wamba explain him.

Li Spain the criticism of the late Menendez y Pclayo. lo be
found in his Historia de las ideas csteticas en EspuTin. and in
those essays on individual plays which he prefixed to the voiuiiifs
of the Academy's edition, has no equal. These scattci-cd utter-
ances are throughout inspiring, and coining fi-oiu one whose
understanding of Lope was so profound, whose taste was so un-
erringly sound, should be gathered at once and reprinte(| in a
form accessible to all.

I may be pardoned for not mentioning all of the recent critics
nor the monographs which are related to Lope's work. Tiie faet
that they deal largely with bibliographical matter nnist justify
their exclusion from my argument. The. fear expressed above
lest we accept too lightly current Lope criticism will meet with
opposition on the part of many conservative readers. Of that
I am Avell aware. But perhaps a defence of these giants of old
on the part of others will bring out something new, and that is all
I desire. The very best criticism is bound to grow nuisty and
stale unless ventilated and renewed from time to time; the ditfer-
ence between certain books on shelves and men in their graves
is not very great after all. Hamlet's "How long will a man lie
i' the earth ere he rot?" also applies to the criticisms of bygone
days. What we say today ought of right to be replaced tomorrow
by something more illuminating, more comprehensive, more true.

10 ni:.i.\i.tric .iirr of lope hi-: i i-:<i,i

l.ol'K'S DiCAMA'IMf AIM": TllK FOK'NITLA ol' AK'T Vlllx'Srs TIIH
FOiniri.A OF Ill'MAN MI'I':

'Pile first IciulciU'V ol" the ;ivcr;iirt' stiidfiit who ilcsircs 1o dis-
cover Lope's pi'iiicipN's of coiiiposil ion is lo search ihroimli iiis
essay «/ Arft niKra dt luKtr rtnnxlia.'i, ami the nuinefoiis pro-
logues iiiid dedications i)i'efixed to the fii'st editions of iiis ph-iys.
Tllis is. to lue at least, a fruitless acadeuiic procedni'e. Lope
writinjr a (•"//(('//(/. an<l Lop<' 1 ryin^' to explain how it is done, ai'<'
two alisolutely difl'ert'ut men, two minds workinf^- in wholly dis-
tinct fashion and on different levels. TIk' Arh inn m espreiall\-
is no cine to what we desire most to know, hut pe(lantie ill-com-
hined material di'awn from his reading; it is the acceptance in
theory of dramatic i)i-incii)lcs to wliicli the work of his life gave
tlu' lie. an uncritical i-cpetition of traditional phi'ascs concerning
the units of time. i)lace and action, rarar arcs which nevei- lodged
on Lope's tree, a naive explanation of the differences apparent
between his own creation and the standard works of old, coupled
with excuses for catering to the poor taste of the contemporary
theatre-goer. Nor do his prologues and his casual definitions of
the comcdia lead ns out of the woods and into the sunshine.
Indeed, when all is said and done, the Lope who tells us of his
art is a mind circumscribed by accepted academic teachings to
which any deliberate opposition would have been unpardonable
heresy. Cervantes, with his meagre dramatic and slight poetic
gift, and the various mediocre contemporaries of his early efforts,
jogged all their lives through in these trammels, and if Lope's
original genius had not broken the academic bonds whicli his
uninspired self-criticism tried to accept, we would have had no
monsiruo de la naturaleza; Spain could not point with pride to
his repertoire which furnishes an example of every note, or com-
bination of notes, struck by any of the playwrights destined to
follow in the steps of this master composer.

DEAMATIC Airr OF LOPE J)K VECA 11

Take, for example, the forcwoi-d of llic Dnruh ,i. ;i woi-k always
dear to Lope's heart. Although it is written hy l.opc's frii-iid,
Francisco Lopez de Agiiilar, it presents a st-i-ies of arf^uiiients
which unquestionably voice Lope's own ojnnions. For tiu-y not
only defend the prose form of the play, but insist that tin* poet
succeeded in making the language and the action trut-r to life
than was usually the case. The writer says: "Sieiido [la
Dorotea] tan cierta imitacion de la verdad, le parecio ia Lope]
que no lo seria hablando las personas en verso eomo las demas
que ha escrito. " Moreover, the stage demands expression in
verse, a creation along accepted lines, while a play not intended
for the theatre, is not bound: "que el papel es mas libre teatro
que aquel donde tiene licencia el vuglo de graduar, la amistad
de aplaudir y la envidia de morder. Pareceranle vivos los
afectos de dos amantes, la codicia y trazas de una tercera, la
hipocresia de una madre interesable, la pretension de un rico,
la fuerza del oro, el estilo de los criados." And if the usual i>ro-
cedure is violated, the reader is asked to remember that the author
is reproducing life {la verdad). "Si algun defeto hubiere en el
arte, por ofrecerse precisamente la distancia del tiempo di- luia
ausencia, sea la disculpa la verdad; que mas quiso el poeta
seguirla, que estrecharse a las impertinentes leyes de la fabula ;
porque el asunto fue historia y aun pienso que la cau.sii de
haberse con tanta propiedad escrito." Those who admire the
prominent characteristics of Lope's art, who prefer the charm
of his verse to the prosaic features of the Z>oro^r«— disfigured by
its academic discussions and its pedantic show of learning— will
have no difficulty in finding "otra imitacion mas perfeta, otra
verdad afeitada de mas donaires y colores retoricos, la erudicion
mas ajustada a su lugar. ' ' Indeed to me this foreword of Aguilar
is not far from verbiage and may, therefore, be misleading. Could
Lope after laboring for years at his profession, within the limits
which the formula of his art had set him, present speaking char-
acters and contemporary customs with all the uiuirtificial colors
of real life by a mere act of volition, if he had not already <lniie

12 i>i;ammu iirr of utri: /»/•; \i:<;.\

so throu^'li tlir (lictiitcs of liis own {jcnius'/ lie cci-taiiily could
not. and the Doroha is tlu-n' to prove it. Wf arc told in Ihc
foivwortl that the si'iitiniciits of tlic lovers aic picsciilcd iiuis I'iros
hccausc of tlic prose. As a nialfci- of fact, tlicjr conversation
.seems nnich inoi-e stilted and unnatural l>y the vei-y fact that it is
in prose. Take, for example, the dialo}j:ue of Act 1, scene v.
Could two lovers ever speak as do l^'eriiaiido and hoiolea here,
and l)e considered sane? Such oM'idone exclanuitions, so m.iiiy
refi'renecs to the cla.ssies. such |)atent imitations of the Celestina
and other novelist ic works, such rcadiufi^s of letters and recitinji: of
verses, what are they hut the usual coinliiiial ion of features char-
acteristic of Kcnascence dialof^ue? It is gratuitous to add that
there ai-c also miiiirled (fualities of great, undying charm, that a
poet who had drunk so deeply of life as Lope could not fail to
add genuine notes. Thus Dorotea's words to C'elia, defending
herself for having yielded to Fernando 's personality and genius,
have an exquisite touch: she would live forever through his
verses. ";. Que mayor ricjueza i)ai-a ujia mujer (pie verse eterni-
zada ? Porque la hermosura se aeaba, y nadie que la mira sin
ella cree que la tuvo; y los versos de su alabanza son eternos
testigos, que viven con su nombre." On the other hand, the
formal eonver.sation of lovers may lose all unnatural traits when
expressed in verse, and if the reader wishes to see an example
not unworthy to be set by the side of Romeo and Juliet, let him
read some scenes in el Caballero de Olmedo, notably the third
scene of the second act.

I have mentioned Lope's casual definitions of the comedia, of
which there are several examples in his plays, and asserted that
they too tell us but little that is illuminating about Lope himself,
little that is distinctive about his own peculiar art. Thus we are
told in rl Acero de Madrid:

No eu balde se inventaron las comedias,
priniero en Grecia que en Italia y Roma.
Allf se ven ejemplos y consejos,
porque son de la vida los espejos.

DRAMATIC ART OF LOPK J)K IJ-dA \:\

And again, at greater leiigtli, in d Castiijo .sin Vutijdnza:

^Ahora sabes, Ricardo,

que es la comedia un espejo,

en que el necio, el sabio, el viejo,

el mozo, el fuerte, el gallanlo,

el rey, el gobernador,

la doncella, la casada,

sieiido al ejeniplo escuchada

de la vida y del honor,

retrata nuestras costunibres,

0 livianas 6 seveias,

mezclando burlas y veras,

donaires y pesadumbres?

Basta que oi del papel

de aquella primera dania

el estado de mi fama:

bien claro me hablaba en el.

jQue escuche me pcrsiiados

la segunda? Pues no ignores
que no quieren los senores

oir tan claras verdades.

According to this we are to see in the comedia "a iiiiri-or of actual
human life," a phrase, not so new but that other playwrights have
used it frequently with slight variations. In theory this may !)«•
so, but how Lope has modified it in actual practice we shall .sec as
we proceed.

If. therefore, Lope's art was not intrinsically one of ddibiiatf
premeditation, one that he could reason about, can we none the
less successfully analyse the complicated nature of his vast crea-
tion? I believe so: for the conclusion which I have gradually
reached is that Lope's handiwork is a combination of tangiblf
elements, conceived by his imagination and modified only in par-
ticular phases by the facts of hunuin life. The fornnda of Lope's
comedia is thus one of the purest art, which does not by any
means, consciously at least, always hold a mirror np to natun-.
and, consequently, it makes a sharp contra.st with the fornnda
of human life. But no great creative genius has ever expressed
himself wholly in one or the other, and while a dranui which
more fully satisfies the latter formula, like that of Shakcsp.>arc.

14 im.iM.tiK .(/.•/ or i.ori-: ni-: \ fma

imist t'lnln'Hf*' also iimiiy elements of llie foniiei'. so the .iil of
Lope iM'trays iiierejisiiij;ly a leiuleiiey to reduce the scope of his
tirtistic foniiiila aiul to extend and make more liis own 1 he t'ormnla
which is always Irne to hnman life. If he was not whelly suc-
cessful in this elVoi't. if postei'ity. ^'em-i-ally unbiased in those
judgments which concern literai\v inniiorlalit.w has allowed his
plays to heeonu- lilerai-y and artistic treasures open to the few,
he iH'Vertlieless rej>resents the liifjfliest point reached liy any ex-
poni'iit of the formula for wlncli he stands. And liy an even
stran«rer decision of posterity, he h;is suffered hut little more than
his iri-e;it contemporary. Sliakespeai'e, whose woi-ks are ;ipp;ii'-
eiitly hecomin^ less and less the spii'itual possession of oiii'
younpT «renerations.

liefoi-e we l)ef,Mn to analyze in detail the artistic foi'mula of
Lope and present its livinji: (pialities as well as its defects, Ave
pause to ask our.selves in what atmosphere his type of play could
lie perfected. This question, however, is Ix'st answei-ed by the
w hole of the exposition which follows. Yet it amy not come amiss
to speak briefly here of two things: the attitude of mind of
Lope's public toward tlie comedia. and the kinshij) of other
Spanish works beside wliicli Lope's i)i-oducti()ns as cliildren of
the inventive faculty take their place.

The Spaniard of the Renascence couples with his unsurpassed
power of imagination a gift of self-delusion and a simplieit.v of
Weltanschauung — speaking of the average man of the people —
which have made possible the creation of uni(|ue types of litera-
ture of peculiar artistic inspiration. I refer in fiction to the
romances of chivalry and similar stories of adventure, the pas-
toral novels, and in verse, to the great body of lyric poetry and
the camcdia. In immediate connection witli this very statement
we must take into consideration not only the abyss which exists
between the relatively much smaller body of realistic fiction
(such as the Celestina books, the rogue stories, the satirical writ-
ings), and all of Spain's imaginative prose literature, but also
the abyss existing between the relatively much smaller body of
realistic drama (represented by the farces of Lope de Rueda,

DEAMATIC AL'T OF LOVE DK ]K(;,i ]r,

the entrcmcscs of Cervantes, Lope ami otlu-rs), aii«l the hii^lily
poetic comcdia. If we are to judge by l)ulk alone this litcratun-
of the imagination looms very much larger in the history of the
Spanish people than their realism, extraordinary as the latter
is. Works of pure invention api)ealed longer and had a tri-eater
hold on their artistic intelligence than any othei- type, if Lope's
comcdia is here classed with the great types of literai-y invention
an analysis of its chief elements may presently justify this point
of view; like them his creation is an extraordinary tribute to the
artistic powers of appreciation of the Spanish people whose con-
stant favor alone vitalized his works and allowed them to hold the
stage in uninterrupted popularity throughout his long career.
Yet we shall later feel inclined to wonder at this artistic intelli-
gence, this boundless love of a poetic work of the imagination,
when we come to learn that Lope's comcdia represents a rare
composite expression which mingles reality with various idealized
features, and not seldom witli unrealities for wliieli I have nev«'r
found any parallel in contemporary documents, nor any founda-
tion in reliable pictures of Spanish society of his time.

We still have to state the chief reason why the comcdia takes
its place beside works of the inventive faculty rather lliaii tliose
inspired by the unadorned actualities of life: that reason may
be found in Lope's concessions to tradition, not infrequently at
the expense of a closer observation of contemporary manners and
of psychologic accuracy. In spite of his overwhelming produc-
tivity, his variety and originality. Lope's inventive genius was
never free from the grip of literary, academic and stage tradi-
tions, and the reader will see from what follows to what extent
they determined the formula of his art. It is the presence of
these traditions, the acceptance or imitation of specific, inherited
features, the inability to shake off the influence of something
already printed, the assimilation of traits of styh' or of eurreiitly
used material which compel us to class the cnmidia with woi-ks
of the imagination rather than with those which held a mii-ror
up to nature. The influence exerted by the former will be apjtar-
ent from what is said hereafter.

ir. iu:.iM.iTi( .Hi I OF i.oi'i-: in: iKd.i

TIh' scopi' of tliis t'ssay ol)li<;cs mr to discard jiiiy coiisidcra-
tion of tlu' K'ss vital llu'iiu's of Lope's vast pro^M-amiiic I nfci-
to siu'h works as tlu' conndias do Santos and to those wliieli deal
with p«'i"uliar lej^eiids. mythological siilijects and seniiliistorieal
talcs. The fii'st. indeed, arc not remote from Spanish cnlture of
the cp<H'h inuler eonsidei-at ion. hut they are fartiiei- i-emoved,
as a rule, not oidy from llie dramatic formula of luniian life
than any jdays we choose to include, hut often do violence even
to Lope's pui'cly aitistic achievement. As retijards all of the
latter type, they indeed increase the hulk of his output but add
pi'actically nothiui; vital to the ^reat elements of his art; they
jrive certain arbitrary i)rinciples, such as that every subject is
tit for theatrical pi-esentation, a wider ran<ie, hut owing to the
vague dramatic application of these i)rinciples they add no ini-
jiortant or illumiiuiting feature to our analysis. 1 am dealing
only with those plays thi"ougli which the luime of Lope has any
ho|)e of surviving, in which he presents actual, living themes
in an intinite variety of form, and on a canvas which has not
wholly paled as have so many comcdias of his day. In short,
I am drawing my inferences chiefly from those plays which
present Lope's nearest approach to the game of life and love in
all of its comic or tragic aspects. For we can retain an a])iding
interest only in those children of Lope's fancy which reveal the
traits of our common, human heritage, the whims and passions of
all men and women clothed by him in the living colors of his
unparalleled poetic gift.

I shall now take up the chief elements of his literary inherit-
ances and the tradition which forms a part of the foundation on
which his comedia was raised.

DRAMATIC AL'T OF LOPE DE VECA

INHERITANCE AND TRADITION MANIFEST IN Till-: r'HAK'ArTKRS

Let lis go back Wwvc liuiidfcd years and iiii;ij:iiic (uirsclvcs
seated among the Spectators at various i-cprfscntations of Lope's
comcdias. As we try to seize and liold llie images that stand
out from the whirl of rapid action passing before our eyes, numei--
oiis indelible impressions are stamped upon our memories. Tbi-
foremost of these is that we have seen the work of a master liand.
which, after fashioning a certain number of characters, has, with
magic skill, given them motion, presenting tliem day after (hiy
in an unlimited number of difTei-ent combinations. Their speech
is never the same, never monotonous, their witticisms cannot fail
to arouse the laughter of the audience ; their emotions of pain,
anguish, hatred, jealousy, and love awaken in all a sympathetic
response. Yet in spite of the incredil)ly ra])id action wliieli
characterizes the great majoi"ity of Lope's comrdias and lends
his artistic formula all the outward manifestations of life, in
spite of the large amount of pure stage business, which, as is
apparent at every turn, permitted talented actors and actresses
to hold the attention and to win the favor of the public, wc are
bound to ask ourselves again and again, is this the perfect image
of actual contemporary Spanish society wliicli so many writers
take it to be? The answer must be in the negative. Let us look
at some of the phenomena which pass before us.

No art which professes to picture human society, family life,
daily episodes of the average man or woman, can set itself any
restrictions ; it cannot omit arbitrarily nor overem]ihasi/.e a cer-
tain number of facts or elements. Thus we are impressed witli
the fact that human society in the cnDudio has with rare ex-
ceptions no mother. All reasons given in defense of tliis omis-
sion but emphasize the fact that we are not dealing so much
with a limitation imposed upon a great art b\- etiquette or <-ui--
rent manners as witli a silent acquiescence in a literary tradi-
tion wliieh goes back through centuries of the lif.- of Rome and

IS ni: AM MIC tin or ion-: ni-: i i:<;.i

tile Latin nations, a tradition none tlir less fixed bccansc it shows
oci-asional fXt-fpt ions. Wi- Mia\' pri'sunic liiat the inotiicr has
always phivcd an nndfaniat ic, a passive |iai't in acln.d human
socit'ly ; her tluties and her inlhiencc iiavc hern circninsciilu'd ;
shf nii^ht h»' seen l)nt not licard. and rvcn tliat oidv in her own
honii'. The usnai appt'al to Moorish inHmiioc on llir scchision
of wonu-n caniiol he disi-c<;ardi'd alto^^'t licr, lo \)^• sure, yd hy
itsflt" it makes a weak ar^'nmt'iit, Ix-caiisc liic dan^ditcrs would
hav«' to he inehi(h'd in the elimiinition and we should ha\-e no
conn dill. .Moi'eovei". exee|)tions explain this phenomeuon whii-li
was accepted hy the Heiiaseenee di'ama all o\fi- I'hiropeaud make
us reali/e that the introduetion of a molhei- into the plot nuiy
h'ail us even farthei" away from t!ie pieture of aetnal society
than iier eustomary omission. Take, for exam|)le, l<i discnhi
EHomoiadn. in which the niotlier lias all the t^noss traits of a
duenna . all the undignified weaknesses of a silly old woman who
eoufts the advances of a youncf gallant, and participates in
rendezvous and other conventional ejjisodes designed for con-
niving old females; or Qnirn ama no haga jh rox, in which mollier
and ilaugiitcr arc rivals intriguing to win the same Jovcr, in
which race the logical victory of the young daughter leaves the
mother angry and shamed, and the ])lay closes W'ith the hitler
re|n-oaching her daughter for her cunning, "Tu has heclio esta
invencion."" Or take los MvUndres de Bclisa, in which the wid-
owed mother. Lisarda, is depicted as ready to accept another
hushand. She falls in love with a supposed slave of the house-
hold, who has already taken the daughter's fancy, wdiile the son
also falls in love with a supposed female slave. Lisarda, there-
fore, impresses one merel.v as a duenna with the title of mother,
hut without sweetness or dignity, for she, too, meets with dis-
comfiture and ridicule at the close. Is this the retired and gentle
mother of Spanish society? Finally, in Lope's Dorotea, in w'hieh
critics see more personal history than is justifiable to assume, we
find the repulsive extreme of a mother, Teodora, who is willing
to sell her daughter's honor to a nabob for gold. Even if we
grant the po.ssibility of an individual case of such depravity in

DRAMATIC ABT OF LOI'K i,/.; rjraj

lit

luiinau society and fulmil thai l.op.. l,;,,! a livin- i,„„lrl in iiiin.l.
we need only compare Teodora witli ili,. go-between of fiction
and drama in Italy and Spain to see that she speaks th.' lanKnag.-
of literary tradition. The plot, according to which the reader
is permitted to see the interior of I)oi-otea"s honi.'. r.-prrs.-nts
the latter with no spotless character, and imjiosi's 1lir conclusion
that her conniving mother offered no ol)jcctions to th.' life which
her danghter has led. In brief, the omission of the mother was
a novelistic element wliich the conudia liad iidierited, and as long
as the majority of plots in novel and play alike turned on secret
intrigues of amorous passion, games of hide-and-s(;ek, honorable
or otherwise, lackeys' tricks and rendezvous, the mother could
play no dignified part witliout bringing down the j^oet's scheme
like a house of cards; if included at all, she naturally assmned
a role by no means in keeping with her sacred position and name.
The absence of the mother made it imperative for the poet
to introduce an elderly female who would lend authoi-ity to tins
picture of society, and at the same time be a conceivable jtart
of the plot. We, therefore, have either the aunt oi- simply a
character not related to the housdiold, very often depicted as a
widow and partaking also of the character of duenna and go-
between. That the latter personage existed in Spanish society
as elsewhere we cannot doubt, but everything has its reasonable
limits. In this particular ease we are once more dealing with
a character on which novelistic and dramatic episodes have turned
for centuries as upon a main axis, and, however nuich poets
abused the type and distorted the actual figure of reality l)y
adding the traditional touches, copied through centuries of lit-
erary imitation, it never lost its vogue or failed to occupy a
prominent place in novel and theatre. Spanish literature of the
Renascence made many contributions to that long line of able
females beginning with the old hag of the classics and running
down through the trota-convcntos, the Celestinas and the duennas.
The duenna especially became an obsession of numerous writers
of the Golden Age, who set her up as an omnipresent, perverse
social manifestation, and so found a pretty opjioi-tunity to rail

io ni:t Ml lie .iirr or lorr: ni-: )/•;<;.(

at lnT 111 ilu' ln'st littTJiry iiumiicr. In tlu- I'ldcrly woman of
hope's lonutlid. \v»' arc ('oiisctiiiciit ly dealing with an inliciMtancc
skillfully iiiodilii'il liy tlu' fads ami made accrplaltlr to llic itiihlic
hy liis iin'oiiiparaltlt' wit and j^raccfiil verse.

A tlieatn'-jLTOtT of Lope's day would he impressed in llie next
place l>y the iiuiiicrous iifjurcs <d' the dis<;uised or w aiiderin;^'
damsel, the maiden who, deceived or ahandoned hy liei- lover,
hides h»'r identity under the {,'armenls of a servant, a slave, or
even a lackey or a \()un<r ^'allant. This is a pu//linfjf clement in
Lopi-'s formula. How many youiii,' women were wanderinj^
through Spain or the streets of Spanish cities in disguise.' Why
did the puhlic accept this figure in its never-ending variety, and
why was it coi)ied by all the i)laywrights of the seventeenth cen-
tury? It cannot be explained, unless we admit that a whole
audience may become hy]niotized by a literary type. That the
disguised damsel Avas nothing else is manifest not only from her
great age in fiction and legend but by the rather unoriginal way
in which she rcapin-ars in the histoi\v of the comcdia. Did the
spectators find in the contrast between the restraints and limita-
tions of reality and the freedom of fiction a kind of esthetic or
artistic satisfaction? I have searched through matter-of-fact
books and documents and yet never ran across the unrecogniz-
able, disguised maiden. Does not Shakespeare make it evident
as only he could that Viola of Twelfth Nig]it is but a child of
his poetic fancy? In both Ijoi>e and Tirso examples of this
disguised damsel are fairly common, so that I need not pick out
particular characters, nor make the futile efifort to demonstrate
that she must have been a common occurrence in actual society
because she is so thoroughly at home in novel and comedia. Yet
to be fair to Lope the ruuawaV' maiden is frequently charmingly
drawn ; she shows all the wit, pathos, and poetry with which his
genius was so abundantly endowed. On one occasion, at least, in
Mas pueden celos que amar, act III, scene xiv. Lope appears not
only to regard the disguised maiden with a twinkle of fun in his
eye, but to admit frankly that she is a character inherited from
books.

DE AM A TIC AET OF LOri- DK ;A7;.( Ul

Coiule. iHabranse on el imuikIo visti)

mujeres que disfrazmlas

hayan hecho extraiiaH i-osas?
Mcndo~a. ^, Qiiien diula quo han sido tantas

que han ocupado los libros,

y do la fama las alas?

Another puzzling featnre of Lope's stage is the oeeasioiml
presence of courtesans of tlie bettei- class; tlicse stand out in
glaring contrast with the ivfined gii-1 liedged about by all the
restraints of her position. This feature gives rise to striking
contrasts in stage pictures because we have the freest morals
by the side of seclusion and modesty. In this type of woman,
however, Lope combined literary imitation with fact, presenting
to us vivid local color in poetic guise. He unrpiestional)Iy luid
in mind now and then the type of woman })resented with great
freedom in the Celestina literature, and, less fre(|uently, that of
the Italian novelle, mingling with this imitation a study of local
morals and customs.

This is not the place to speak at great length of the manners
of the Latin capitals of the Eenascence, especially the larger
cities : Paris, Rome, Madrid, Seville and others. But a few words
may serve to throw some light on the characters of the go-between
and the courtesan. Most accepted narratives of moral corrui)tion
are always to be discounted to a certain degree, because they bear
many signs of exaggeration. Innumerable writers have indulged
their fancy in scandalous tales because unsavory morsels have
always made attractive and salable reading. Glaring pictures
of incredible freedom, descriptions of the iunnoral life of tlie
entire society of a city, have always caused an agreeable shud-
der in the credulous reader. In this, novelistic works especially
have contributed their share, and the modern critic forgets that
he is taking highly colored entertainment for fact. After sifting
all the evidence and building rather on silent archives and un-
adorned history, we are, to be sure, face to face with a condition
unlike anything today. Madrid and Seville especially, cities
which combined many cultures, in which Roman and Moorish
customs dominated, present a freedom of manners excelh'ntly

22 nUWlMH Mil or l.Ol'l: HI: \l:('..\

<lf|>ii'it<i III s(»iiii' of Lopi' s vivacious scciifs. Tlir cxisti'iicc of
slavery, llic tlcnun'ratic spirit of tlic servants, the (|U('st of sex
wliii'li is always in tin- atiiittsplu'ri'. lln' liniitat inns of n society
thrown t'litirely upon its own resources for ainuscineiit liecause'
re.strieted eoiiuiiiinieat ions praelieally isolated it from the i-est
of tile world, the animation of street life developed to an un-
parallt'led decree, and. linally, the uiirest rained manifestations
of the soiitliei-n teiiiperaiiieiit, all these facts and many more
made |)o.ssil)le the presence of the free woman and f;ave her an
ostahlished prominence in life and in art. It is, therid'ore, clear
that Lope introduced a wvy hunian element into his comcdia.
Hut the remarkahle fact remains that lie presented this side of
life with an unusual delicacy of touch. Since comparisons ai'e
often helpful, it is interest in>j^ to [)oint out how much cleaner
and purer he has kept his tone tium the Elizabethan and Ja-
cobean dramatists did in England, for these latter often sink
into unspeakable depths of filth and indecency. Lope's art con-
sciously sou<j:ht to attain a high level in its moral toni'. for which
we also owe a debt of gratitude, however slight, to the oftieial
censor, who jirotected public morals from the evils of literature.
Li short, we are dealing with a condition common to Latin society,
and reaching far back into the classical age, wdiich prohibited the
virtuous maid from taking part in the social gatherings of men.
and so brought about the substitution of the courtesan. The
latter combined with her freedom of manners beauty and clever-
ness, and became in life a visible part of society, and in literatui-e
the admitted companion of men.

Among the novelistic characters to whom Lope 1ms given
traits of endless variety and originality is the young gallant,
spirited, alive and consequently full of action. The type is not
distinctively a Spanish creation, for we find him in all literature
of the Renascence; he is prominent in novel and memoir, but
especially on the stage, where his dashing qualities give him the
first place. Yet in the comedia of Lope he seems to me to sur-
pass all others on account of the astounding diversity given to
his speech, his moods, his impulses, his whims, his virtues and

DRAMATIC ART OF LOPE 1)K VEGA 'i:\

his follies. Logically a character all action must have a foil,
and so Lope set by his side another traditional figure whicii he
presents with no less variety, the attending servant or hick.\ .
This inseparable appearance of master and servant .-asily he-
comes dull and mechanical in the hands of an inferior g.-nius,
and so betrays the fact that we are dealing with a stage device
rather than a common phenomenon of human society. Lope
has managed to put into the servant the unbounded resources
of his wit and made him one of his chief claims to rank among
the world's great comic playwrights. The reason for the ex-
istence of a companion for the gallant derives chiefly from his
appearance in centuries of novel and drama. lie was necessary
to the plot and assumed diverse forms, such as that of advising
friend, guardian, aijo, teacher, but especially that of servant,
slave or lackey. On comparing Lope's gallant with all tiie
types which preceded him we find how much this versatile play-
wright improved his literary models, how he managed to make
a dangerously stereotyped character alive. How he succeeded
in creating a never-ending series of comic scenes involving nuistcr

and servant will always appear a miracle of invention. ln<l I.

he has so accustomed his reader to look for these witty scenes
that any play without them causes genuine disappointment.

But let us see to what extent the servant is an invention of
Lope's mind. Real life, as contrasted with literature, reveals
the presence of the commonplace rather than the witty servant,
and in Spanish society no doubt could be found numerous ex-
amples of the attending maid servant, the slave, the lackey, the
lady's cscudero and the rest. But we are now dealing with a
personage endowed with far more than the average traits. Tin-
latter are not conceivable as dramatic possibilities. Even the
average- literary models, the servant that can be bribed or won
over, the serious guardian, the grave aijo, the sentimental com-
panion, or the mixture of messenger and go-between, these and
others would have failed to add the vivacious, living touch neces-
sary in plots based almost entirely on action. Lope, tiierefore,
conceived a character to the flexibility of which there are no

24 /»/. I \/ tiic I/;/ or i.oi'h: />/•; ) ra.t

boiimls. His ntti'iuliii^' sci-vants cmltrju'c I'vory coiiccival)!*'
quality: tlu-y art' shrewd jiiid witty advisors, tlicy invent tiielvs
aiitl discover r«'niedies, they overcome ohstach's. they aie fid I of
dclijjhtful saws, they di-aw on a vast amount oi' human experi-
ence, they are tided with ready information, and not infreciuently
with substantial Icarninjr and classical instances, they ai-e loyal,
devoted and sclf-sacrificin'; friends, they may even he excellent
philosophers, they rcpi-csent in the most comprehensive sense
the ])erennial resoui-cefulnoss of Lopo's own ii^ilts. And all this
is true, althon^di to a much lesser degree, of the crimhi wiio at-
tends the heroine.

In this very fullness and completeness of mental traits in
the servant lies one of his chief defects, and we quite naturally
ask ourselves how likely it w^as that such attendants or lackeys
existed anywhere outside of Lope's fei-tilc hi-ain. Headers of
the comulia get the impression that innumerahle gallants walked
the streets of the Spanish cities and that each was favored by
heaven with a servant in some way extraordinarily endowed. If
we may consider the best part of this figure as Lope's creation
we are nevertheless dealing with an inherited type modified by
the demands of the stage into a personage to whom his genius
gave the bi-eath of life. It is apparent that he kept actual ser-
vants and lackeys sutficiently in mind to make his own characters
acceptable possibilities. They are alive, even if they move in
what seems now and then an imagined form of society, raised
above actual life, just as was their poetic speech above the prose
of common day. They are alive because Lope borrowed with
consummate skill the color, the movement, the kaleidoscopic ani-
mation of the world about him, giving his handiwork warm blood
and poetic existence.

I do not presume to mention all the characters of Lope 's
plays which would ordinarily find a place in this discussion;
I shall limit myself to giving a few more which may be of interest
to the reader. They are the father, occasionally replaced by the
uncle, as the aunt so frequently took the place of the mother.
Here Lope again exceeds mere tradition, betraying in these per-

DEAMATIC Ai:r OF JAJl'K 1)E VECA 27,

sonages a luoiv paiiis-takinj^ ohsci-vatiou of cui-iTut iiiamirrs.
Indeed, some of his old men arc amongst tlif grcatt'st creations
of his stage. To one traditional figure — the rich, old suiter who
bases his advances on the power of gifts and gold — Lope has given
an original turn by presenting him in the guise of a familiar,
contemporary character, the Indiana or nabob. The novelty and
romance which attached to an adventurer rctui-ning fiom tiie
Indies laden with riches and boasting of strange experiences
made a fruitful addition to the dramatic possibilities of the
comedia, and Lope could scarcely fail to give him on the stage
all the interest he awakened in real life. He is a part of the
adventure element of the comedia, and takes his position by tiic
side of the soldier who rctui-ns from campaigns in Flanders or
Italy, that much traveled, wandering personage who injects into
every plot new elements of intrigue, trickery and ronuuice.

In speaking of the influence of inheritance and tradition
upon the characters a woi'd must be said about the poetic nomen-
clature of the dramatis personae. "We deal here with one of the
stereotyped features which characterizes not only the Spanish
drama of the Golden Age but the whole Renascence drama every-
where. The reason for the existence of these stereotyped names
is not far to seek: they were adopted under the influence of the
fiction sources of the drama, coupled with the exigencies of
dialogue in verse. They seem especially suitable in a drama
which is not entirely an image of contemporary conditions, but
the picture of an idealized form of society. Lope presented on
the stage between seventeen thousand and twenty thousand char-
acters, for whom he devises a surprisingly wide range of nanies.
Their drawback will of course always be their inevitable repe-
tition, and the reader is sometimes hopelessly lost in the long
lists of Dorotea, Teodora, Belisa, Fenisa, Feniso, Finea, Fineo,
Laurencia, Laurencio, Turin, Chapin, Bat in, Chacon, and end-
less scores of others. They form one of the elements of Lope's
art, which has grown pale, but which we must h-arn to cnduiv
as an inoffensive feature of the poetic language of the comrdia.

'26 i>i:f\i trie \i;r or i.ori-: ui: iKa.i

lMli:rcIT.\NCK AM) TlCAni'l'lON MAMKKsr 1\ Sl'Kd IMC TliAI'l'S

OF i,(>i'i:"s 1'1,0'rs

'I'lic i-Mpitlilx' t»r iictidii wliicli cliaractcrizcs pracl ically all (if
Lope's plays lias hcfii touclicd upon above ami will Ite discussed
in fonnei'tioM willi the cliiei" features oi" his di-ainatie lechni(pie.
At this ])oint. however, it loads me to draw alteiitioii to the in-
evitable result of constant forward niotitui in llic jilol. I'syclio
lojrical chauires due to inedilalion. delay and I'epose ai'e i-ephn-ed
in the nuijority of cases by staj,'t' devices of an exiernal cluiractcr,
novelistic episodes, strikinjjr theati-ical effects admirably conceived
to suri)rise the spectators, by impulses, whims and passions w iiich
do not re|>i-t'sent any spiritual growth in the characters. One
of tile excellent traits of Lope in this connection is his self-
restraint, tlie manner in which he has i-efrained fi'oni overdoing
this side of his di-amatic fornnda. Critics of past <ienei'alions,
having taken for a starting point tlie work of Calderon, who used
all these features with more mechanical skill than Lope and per-
fected his techni(iue, at times to the point of rigidity, have seen
tit to include Loi)e in llii'ir schemes of classification, and made
him, because of these outward signs, a romantic di-amatist. This
is misleading and inadequate, because no other fact stands out so
clearly after a prolonged reading of his plays as this, that it is
impossible to find any pigeonhole into which his vast genius
can be compressed. The spirit of his art has a thousand wdndows
and permits the reader to look upon a wide range of human
activities; it shows a comprehension of all that goes on in the
hearts and brains of men, of which romantic dramatists and even
Calderon had an inadequate conception. His gift of invention
was so enormously taxed that it had to make concessions to
literary and academic traditions in certain elements of his plot
material which do not represent profound aspects of human
life ; therefore critics have singled out these external traits and
branded them as signs of the romantic drama. The fact is that

DBAMATIC JET OF LOFE DK VEGA 27

Lope has romantic features as he lias cliaracteristies of (nci-y
school, if one chooses to search them out, but more liglit is thrown
upon his art if they are considered only from the jioint of view
of his own day and treated as accepted elements of an inheritanci'
which he received in common with the whole Renascence.

What are some of these tangible outward sla^'c di-viecs or
plot episodes? They are those which novel and di-aina have
assimilated practically the world over. Indeed, some of them
have their roots in folk-lore themes and are as old as the imagi-
nation of man. Lope used them in his usual impressive manner,
giving them a novel turn again and again. Among tliem are
disguises of all kinds: women as men and less frequently the
other way about, maidens as servants, doctors or even college
professors, deceptions, feigned relationships, lies ranging from
white to black, incredible experiences and adventures exempli-
fying the delightful saying de luengas vias luengds mentiras. the
substitution of one person for another, concealments which lead
to comic or tragic ends and many other novelistic motifs. Among
the common devices which help the plot forward are the bribery
of servants, the exchange of the usual lover's tokens sucli as
handkerchiefs, letters, rings, messages and the like. The tricks
employed to open a conversation, to obtain an interview or send
a bit of news include such methods as opportune stumbling and
falling on the part of the girl, the lover hastening to extend a
helping hand; the use of the holy water font at church, where
a glove or letter may be left; the traditional entrance into the
girl's house of the vendor of knickknacks or ladies" articles of
apparel, a personage who goes back to the institor of the classics,
and the trota-conventos of early Renascence literature ; and tlie
protected rendezvous carried out under the aegis of some servant,
friend, or relative. Possible meeting places are of course limited
to accepted custom, the most common being the streets or public
promenades, or the reja of the woman's house, if the lovers or
interlocutors are unobserved. Servants are not as a rule consid-
ered intruders. Next in importance is the church, to which
every woman would repair daily as surely as the sun rises m

2.S i>i:.\MMi( Mil (H- hh'I: in-: i i:(:.i

i\\v inoniiiij;. Frt'(|tK'iitly iinis arc succt'ssriil iiit'ctinj; placrs.
Tin: niilu-raldril ciil I'aiifc of llu' lover into llic very room of llic
Itflovfd may !)«' takni as an amusiiii,', altlioii<;li ail)it i ai-y, hrcatli
of custom on tlu' part of the |)0('l, siiu-c it is always f^'rcctcd liy
nil rxi'lamatioii of fcai' ami ilisappioval on tlic pait of ihc j^irl.
As a pjin-ly iiovclistic cjiisodo it is an iiilicritaiicc out of llic
ciassii'S, for \\r may recall that Ovid advises llie lovei- 1o make
it ouc of liis principles to lorci' his way into the wonuiu's house
if possible, a j)riueiple inade use of especially l)y the Italian
novel. The proximity of the houses of the lovers, the i)ossil>le
signs exchanged from balconies, were no doubt apj)lieable to
hx'al conditions, but are none the less common to all novels deal-
ing with episodes of life in citit'S.

We are bound to view any great li])erty of action on llie pai't
of young women, who are otherwise depicted as refined, and
educated according to the retired position occupied by the aver-
age mother and daughter, as a stage device by which the poet
broadened the actual conditions. In those female personages
who show independence of both thought and action Lope pre-
sented characters and conditions which gave his w'it freer play
than colorless reality ; he entertained his audience by means of
a picture frankly intended as an exception rather than the rule.
This is one of the features which makes certain writers voice
their enthusiasm over the lifelike descriptions of Spanish morals
and customs to be found in the comcdia, but, as I already stated
above, their assertions seem based on statements and pictures
which in their turn are founded on inferences drawn from these
very plays. As an argument this procedure involves us in a
vicious circle, the probability being that in this whole matter
Ave are dealing with another clever fusion of fact and fiction.

Considering the wide range of poetic license, it is futile to
criticize Lope for occasionally reducing the whole world to a
small stage. Thus the mention of a personage living far away
may prompt some one present to claim him as a relative, friend
or acquaintance. This theme of universal acquaintanceship is
a part of the artistic formula which found no obstacles in dis-

BllAMATlC AllT OF LOfl-: HE \l.(;.\ o,,

tances, and took for granted that llu- iiiiaginalion of Ihc spfcta-
tors was equal to any rapidity of action, to a ^\\r\\i over an\
distance, or to a removal to any place. The devices accordint:
to which characters in localities widely apart are known to on.-
another are thoroughly accepted as stage i)ossibilitics, an.l arc
necessary to connect scenes in plots wliieli r.-jceted tli.- nnilv of
place, and which are, after all, only a mixture of reality and
fancy. In connection with this fusion and the presence of in-
evitable artificial elements not only in the Spanish but in every
national drama, we are apt to overlook tliat a detailed stud\- of
life in the European capitals at the pei-iod under consi.leration
makes evident a number of truths concerning human existence
widely differing from the facts of modern city life. The ab-
sence of newspapers, of communication with the outer world to
which I referred above, the lack of all modern inventions, gave
vast importance to the arrival and departure of all mail, to
messengers and couriers; it increased the carrying i)ower and
vitality of gossip, concedijig undue prominence to all local occui--
rences, however slight, to scandals, accidents, rumors, placards,
pamphlets, letters and the like. Therefore individuals dependent
upon their own resources lived a life measured by standards
wholly different from our own. We may thus assume it to be
extremely likely that individuals in families of reasoiud)le prom-
inence M'Cre widely acquainted among the inhabitants of the
same city.

But city life, however circumscribed, can never be dominated
by an artificial formula in every phase or level of society. Even
formal court manners have never meant that a whole city led
an existence of pure etiquette. The court life of monarch and
aristocrats maintained its course on one side of a cleavag<'. on
the other side of which the masses of the people jmrsued their
sane and commonplace ways. It must have been so with the
society of the Phillips, or the actual Spanish world would never
have survived. It seems more critical to accept with many quali-
fications the peculiar point of view which makes the artificial
traits found in the comedias of the seventeentli century a mirror

:\o /»/.•. u/. I //(• .1/;/ Oh' I. an: in-: ] lia.i

of rrality. This »'OiicIiisioii is hardly honic out hy oljjccl ivc
tloiMinu'nts (U'aliiitr with fju'ts. The vast nuijorily of llic Spaiiisli
nu'ii ami wonn'ii who livctl dmiiiL!: the rv'i^u of Ihc IMiillijis did
not const il iilf an unnatural or a non-moral coiiununity ; llicy
\v«Tt' a mass o\' sound l»<'injrs with icd lilood and sane t liou;i:lits.
Yt't \vt' read (d' vo^iucs in dress, foi- f\am|il(', an<l imairinc the
wluilf S|tanish iicnpic pursuini; the idle fashion of a ^valloon
I'oUar or a round-toed shoe; we are told of i-aseals and ])icai'os
in tlio str»>ots of Spain, and so l)eliove that evei-y city swarmed
with them: we are imju'csscd by theatrical duels, and therefore
iiuafjine that the streets ran^' at nitjcht with the elashinj,' of swords,
and wc visuali/.c the processions of (ih/iauihs drafj;<,dnfif culprits
to prison ; we recall the intri«ruing. adventure-seeking career of
certain young women, hut fail to reniendx'r that the cities were
full of virtuous girls living the normal, secluded life. We have
heard repeatedly of the severities of the Inquisition, and picture
Spain tormented by a blind, inhuman tribunal. Contemporary
criticism of the actions and usages of human society are worthy
of the most careful scrutiny, but they are, it must be remembered,
almost invariably aimed at abuses, misguided efforts and sporadic
follies, and not at normal conditions. A playwright may draw
certain pictures of society on the admitted ])rinciple that a comic,
a pathetic, or a tragic scene need not be taken as a direct criti-
cism or a fixed image of contemporary life. In short, it is a
question of the balance he may strike between the artistic formula
and the formula of actual human life. The dramatic poet may
put on the stage episodes or events not because he considers them
frequent occurrences, but isolated happenings worthy of record.
This is especially so with tragedy. The conclusion drawn from
an Oedipus Tyrannus is not that this character or his career is
a connnon occurrence ; Electra is a unique creation of the poetic
mind. "We cannot infer from Shakespeare's art that the Avorld
is full of foolish old men like King Lear, who divide their prop-
erty according to the hollow protestations of love made by their
daughters. How many Macbeths or Othellos or Falstaffs are
there ? Descending into the realm of comedy, the principle holds

DRAMATIC AllT OF LOVE DE VECA

.'51

Avitli a somewhat wider range of ai)i)lieation. Si)ecific cvenls
of common life are duplicable, but successive series of artificial
combinations very rarely so, and that only wlicii we an- dcaliiii,'
with arbitrary modifications of local customs or litn-ai-y imitation
and inheritance.

Of poetic abuses, artificial or stereotyped language, of Ww
speech of love, courtship and intrigue I shall write below, as
that demands a special chapter. Having mentioned devices of
plot and elements of plot-content, a few additional words will
suffice touching upon the repetition or limitation evident in the
range of thought of the personages, a quality to be attributed
not only to the rapidity of action which hinders a philosophic
treatment of life but to Lope's artistic formula in general, which
is devoted to an infinite number of combinations of the themes
of love, jealousy and honor. Lope undoubtedly recognized the
inadequacy of this formula when applied to the fullness of human
activities, and notably in his tragedies he knew how to dfsccnd
to the depths of all emotions which may stir the heart. A dis-
cussion of the variety of motive forces in his mighty themes of
self-sacrifice, duty, infidelity, revenge, his. highly diver.sified pic-
tures of inner struggles can hardly find room within the scope
of this essay, and the reader will be best rewarded by studying
them in Lope himself. Of the prominent tliemes of love and
jealousy little need be said. No other poet of the world's liter-
ature has sounded their sombre depths more skillfully ; no one
has given them more graceful, witty or humorous turns and
definitions, or presented them in more different moods.

But w'e must dwell a moment upon the theme of honor, ex-
panded into a veritable code wliich dominates all other senti-
ments. It was, like few other dramatic motives, the happy hunt-
ing ground for every dramatist. IMuch has bet-n written about
it, and it is therefore trite to add a disquisition on the Spaniard's
character, showing that he was ''jealous in honor, sudden and
quick in quarrel." Indeed, we know from formal works on the
subject that there were well defined grades of grievances, affronts
and insults, as there were also principles governing tlie amends

:\2 i>i:.i.\iAiic Airr or i.oi'i-: ni-: ikc.i

\vliii'li rould !)«' cxju'tf.l. Ill oIIkm- words, tlic Spaiiiiirtl is pr.--
si'Mti'il as iiu'ticuh>us in nil maftcrs foiu'iM-nin^ liis limior. ISnt
so wen' nil pcopli's <»f tin- South: llic CJt'tM'ks, the llaliaiis, and
the Fniicli. lOvt'ii tlu' coldci- iioiM litfii I'accs rclicarsc this liadi-
tioiial thfiiu' ill novel and dranni ; its clVt'ct ivrncss was so a|)parint
thai it was seized and I'epeated for deeades on every sla^;e. Is
it therefore a speeifieally Spanish theme, oi- is it Udt tlie fact
that the Spaniards have nierel\- written more and more impi'es-
sively about it? Aflei- eomi)arin^' a ^ncat many wiiteis ami
plays. I lind tiiat the treatment of honor is. to no small extent.
a matter of formal i)liraseo]o<,ry. to<,'ether with constant imitation
and eopyin^' whieh gave unoriginal minds a welcome ojjportunity
to deal with a lofty subject. Conseciuoully the reader will fi-e-
(puMitly come across a stilted disquisition on honoi- in llie liter-
ature of the Renascence, which is goneially in keeping with an
accoptetl, contenijiorary point of view.

To resume, no analysis of the ek'nients of Lope's formula,
wiiich I have just treated, can be as illuminating as his own
words, for he has, after all, an inimitable way of describing tlu;
world which liis fancy has set up. The traditional lines along
which so many of his plots move are best given in the followdng
verses :

Fenisa. < Q"^ nianeebo me pasea

destos que van dando el talle?

iQue guijas desde la calle

me arroja, porque le vea ?

^ Que sella me has visto hacer

en la iglesia? ^Quien me sigue, '

que a cstar celosa te obligue?

iQue vieja me vino a vei?

^Que billetes me has hallado

con palabras deshonestas?

I Que pluma para respuestas,

que tintero me has quebrado?

^ Que cinta, que no sea tuya

o comprada por tu mano?

; Que chapin, que toea?
BeUsa. En vano

quieres que mi honor te arguya.

— La discreta Enamorada.

DRAMATIC AllT OF LOVE DK VEGA

Or the following:

Hernando. jQuien lia liedio

milagio tan notable en tu sentiilo?

Lticindo. La confianza de que soy querido.

i Bendiga el eielo la invencion, la traza,
la hora, el movimiento, el nianto, el Prado,
los celos, los disgustos!

Hernando. Y pio dices

que bendiga tanibien a Estefania?

— La discreta Enanwrada.

33

34 ni;.i.\i.ui( Mil or i.oi'i-: ni-: i i:a.i

AKTIIMi lAL l>i:\l< i:s IN Till': TKCllNK^irK I'.AI.AXCi:, TllK

Drri.icA'rioN of (iu-orps ou* comiunations

OP PEKSONAC.KS

111 siK'nUiii*; iiltoNc of cci'tiiiii fliariictfis in liopcs ((iiiitdKi
who may In- considi'i-cii as taken in i»art from Iradilion. l)nt
modilii'il hy tin- poi-t 's ait. I ijavc one of tlir prominent i)lacf.s
to tlic yoniif? gallant and liis si rvant, and to the lici'oiiio or (hinui
with lici" attcntiant. condiinat ions or jtairs rc|)ral('(l in infinite
ways and presented in snch a mannei- tliat we eannot conceive
either master or servant existing withont the other. We now
go one step furtlier and examine tlie artificial result obtaineil
by l)ahincing tliese pairs one against the other. This device
has already been spoken of by writers on the comedia, and its
unnatural character condemned. It, tiierefore, requires a
defence or an explanation only if we cling to the untenable idea
that everything in the comedia reflects real life. But if we
keep in mind certain wholly artistic elements of Lope's stage,
and get his own point of view on the dramatic interaction, the
theatrical effectiveness of these games of duplication, we sliall
find in them a conscious development of infinite possibilities in
situation, humor and comic confusion. It is apparent that the
servant may not only duplicate the master's love affair (see,
for example, el Acero de Madrid, Act III, scene vii) but he may
also find himself involved in the same predicament as his em-
ployer and frankly burlesque, by the absurdity of his own situ-
ation, the mock-serious plight of his master. These possibilities
Lope recognized as a source of comedy, and occasionally a ser-
vant makes plain the object of this invention. Thus Fisberto in
el Ausente en el Lugar tells us:

Sabina, ya tii sabes que danzamos
los criados al son de nuestros duefios.
]&1 vuelve a Elisa, j yo me vuelvo a Paula;
Dios sabe que me pesa.

DBAMATIC ABT OF LOPE DK VlKiA ;!.-,

And in los Conunidadorcs de Cordoba, the scrvanls. \vi- an- told,
must duplicate the relatioiislii}) Ix'twccn master and unstress:

Luego, iloiuie iiii amo lioniailo
tieue alguna prima houraila,
^no viene a ser la criada
la prima de su criado?

Were it not for lack of space many examples of amusinfjf situa-
tions and witty dialogues arising from this invention might he
given. A single one will suffice. In el Ausente en el Lugar
Carlos tries to make Elisa believe that he is obliged to absent
himself while in reality he does not leave town. Esteban, tlu.'
servant of Carlos, has in the meantime agreed to have a ren-
dezvous with Paula, Elisa 's servant, and the following comic
scene takes place :

Esteban. iQue es lo que habemos de hacer?

Carlos. I No dices que has concertailo

hablar con Paula?
Estehuii. He ijensado

que te podran conocer.
Carlos. No haran: que estare escondido;

auiique mucho mejor fuera

que yo ser tii me fiugiera,

y hablara a Paula atrevido.
Estehan. ^No podre decirle yo

lo que tu le has de decir?
Carlos. No lo sabras tu sentir.

|Abri6 la ventana?
Esteban. Abrio.

Carlos. Apartate, conio que eres

yo, que estoy alii arrimado.
Esteban. Habla como yo, embozado,

ya f^ue ser lo que soy quieres. (Embozaiisc.)
{Elisa y Paula, que salen a una ventana. Carlos ]i Esteban.

en la calls embozados.)
Eliza ;Aqui dijo que vendria

Esteban a hablarte agora ?
Faula. Esto me dijo, Senora,

hoy; que le hable a mediodia.
Eliza Gcnte a nuestra puerta veo.

Que soy tu quiero fingir.
Paula. } No le sabre yo decir

lo que tu tieues deseo?

36 /'A'.i.w.i//c .(/.•/• "/•■ i.orr: /»/•; i/.v.i

ElUa Uosvinto; «|Ui' ya llofjn.

I Kh Kstolmii?
Coilits. V tn iiiiiso

iMi's riuilii ?
/■;/i,»<i. (Aj>J ;K.\trano cnso!

;()li I'lii'mto iiiiior jiuoilo y cii'ga!

Kii In voz 1h> coiHxiilo

a Carlos.
CoiIds. (Ay.) Klisa es 6Mn;

((uo la voz lo iiianifiosta,

auiiquo la voz lia linjjiiio.

Tlif lovers iKtw (|ii;iiTcl niul llic I'csl of this scene ;is well as llie
sul)si'(|ueni ones are anioiii: tlie Ix'st coinedy that we liave from
Lope's i)eii. For another e.\aini)lo of this luiinorons balance see
Act I. scene viii, of this i)lay. Tcclmically tlio close interinflii-
onec of master and servant has tlie (lra\vl)aek of making lliem
too dependent upon one another, their exits and entrances are
generally sinndtaneons. and the individuality of one overlaps
that of the other. Hut it is an element of Lope's formula to
whicli one grrows accustomed as one does to a peculiarity of a
great painter, and the fact remains that the servant has not
deteriorated into a mechanical attendant as in the hands of less
ingenious playwrights.

The juxtaposition on the stage of groups or pairs of person-
ages is logically accompanied by a duplication in situation. Of
this nuiny examples could be cited, but an excerpt or two must
sulifiee to illustrate this phenomenon introduced by Lope into
both tragedy and comedy. In el Castigo sin V en gam a the car-
riage which brings Casandra and her attendant has been over-
turned at the crossing of a stream ; both are rescued by Federico
and his servant :

Sale Federico con Casandra en los brazos
Federico. Hasta poneros aqui,

los brazos me dan licencia.
Caf<andra. Agradezco, caballero,

vuestra mucha gentileza.
Federico. Y yo a mi buena fortuna

traerme por esta selva,

casi fuera de camino.
Ca.mndra. cQue gente, Seiior, es esta?

DRAMATIC ABT OF LOPK DE VECA 37

Federico. Criados que me aeompanan.

No teiigais, Seuora, pena:

todos vienen a serviros.

Sale Batin con Lucrccia en los hrazos
Batin. Mnjei-, dime, ^como pesas,

si dicen que sois livianas?
Lucrecia. Hidalgo, ^donde me llevas?
Batin. A sacarte per lo menos

de tanta enfadosa arena,

como la falda del rio

en estas orillas deja.

Pienso que fue treta suya,

por tener ninfas tan bellas,

volcarse el coche al salir;

que si no fuera tan cerca,

corrierades gran peligro.

The same play offers an example of duplication in dialojjfuc wliicli
could easily pass unnoticed as such. In Act I Casandra asks Iut
servant, Lucrecia, what she thinks of the young count, Federico ;
when Casandra has left the room Federico asks Batin, his ser-
vant, to give his opinion of Casandra. In al Pasar del Arrojjo
we have a typical duplication of situation and language. The
action of Jacinta in taking leave of her lover Carlos, is followed
by a similar decision on the part of her maid Isabel who bids
farewell to Mayo, the servant of Carlos. (See Act II, scene xxiii.)
The repetition of similar sentiments or phrases may assume
a poetic form of great charm, found especially in scenes in which
only the lovers and no servants take part. Thus the dialogue
between Sancho and Elvira in el mejor Alcalde cl Key is in
Lope's best vein:

Sancho; despues, Elvira
Sancho. Sal, hermosa prenda mia;

sal, Elvira de mis ojos. (Sale Elvira)
Elvira. (Ap.) jAy, Dios! jCon cuantos enojos

teme amor y desconfia!

Que la esperanza prendada,

presa de un cabello esta.
Sancho. Tu padre dice que ya

tiene la palabra dada

a un criado de don Tello.

jMira que estranas mudanzas!

38 nirt.M.iiK .(/.•/ or i.ori-: he i i:<:.i

Klvirti. N«> «'n liiiMo mis o|>('riiii/.!is

coital))! amor dc iiii ciilu'llo.

^t^iii' mi padro ino ha casaiio,

Saiulio. fon iia I'scinloro .'

Hoy j>ii>r<lo la viiia, lioy nnioro.

Viviti, mi ihiK-c ciiiiiailo;

tjuo yo mo daro la miuMti'.
Siiiuhi). I'aso; (|iu' mo burlo, Khira.

ill alma en los ojos mira,

<lollos la voiilail advioito;

quo, sill aiimitir I'spacio,

(lijo mil voc(>s (luo si.
Ehini. Samlio, no lloio i)or ti,

sino i)or ir a Palacio;

quo ol criaiino on la llano/ii

dosta humilde casoria,

ora cosa que podia

oausarme mayor tiistoza.

Y que 03 causa justa advioito.
^'(l;l(•/l(^. ;(^uo necio amor me ha eugafiado!

vivid, mi necio cuidado;

que yo me dare la nuiorto.

Engauos fueron de Elvira,

on cuya nicve mo abraso.
Khira. Sancho, quo uic hurlo, ])iiso.

El alma en los ojos niira;

que amor y sus esperanzas

me han ilado aquesta lie inn.

Su propia definicion

OS que amor todo es vonganzas.
Sanclw. Luogo ^ yo soy tu marido?
Elvira. ,• No dices que esta tratado.'

Again the spirit of duplication and balance of cross-purposes
may deal only with groups of lovers as in Quien ama no haga
fi(?ros. (Act II, scenes iv and v.) Here Felix and Ana are both
cousins and lovers, but Juana is also in love with Felix and
secretly asks Ana to help lier win liim, while Count Octavio is
also in love with Ana and secretly asks Felix to lielp him win
her. Thus each of the two lovers is supposed to lend a helping
hand to a rival.

A good example of duplication in situation, this time matri-
mony, can 1)e found in el Domine Lucas, a charming jcu d'esprif,

DRAMATIC Am OF LOPK DK VEca ;,,,

.full of litV and action tlii-ougliout. Thr cliicr charact.T.s aiv iu,,
students, Floriano and Alberto, cousins, balanced a<,'ains1 I.ue-
recia and Leonarda, also cousins, eonstitutini? a foi-inuia accord-
ing to which one pair of cousins marries another, that is, Floriano
marries Lucrecia while his cousin, Alberto, marries h<r cr)usin.
Leonarda.

Alhftto.

Si contigo iiic case,
no creo que te he enganado;
que soy eaballero honrado
y alguna renta herede.
De Floriano soy prinio;
y asi, pues eres tu prima
de Lucrecia, a mi me estima
en lo mismo que la estimo.

Leonarda. Digo que ya soy conteuta

de hacer tan buen casamiento,
y perdono el finginiiento.

In la NocJie de San Juan artifice dominates, although the
romantic color and movement have made some critics very enthu-
siastic over the play. An occasional genuine note of real life is
struck, but many of the themes lack true inspiration, possibly
because all of them had been employed many times before b\-
Lope. He especially makes use of his well known devices of
balance, cross-purposes and duplication, applying them to the
gaieties of St. John's Eve. The play presents two groups, in
each of which a brother and sister play the chief parts, each
brother naturally loving the other brother's sister, while the
sisters have secretly given their affections to two other men.
La Esclava de sii galdn presents a balance and crossing of in-
trigues based upon the love of Don Juan and Eleiui for one
another while at the same time Elena is loved hy Rieai-do and
Don Juan by Serafina, constituting a kind of subplot.

In comedy balance and duplication of intrigue are naturally
far more at home than in serious drama or tragedy. Indeed in
the first we find it developed to its highest complexity as inay
be seen from the following combination in la discrcfa Enamornda.

40 Dh'.i.M.tTic .nrr OF i.oi'E ni-: \ eca

Wvvv a fatluM", «/ i'apilan HcniJirtio. .iiid liis son, LiumikIo. aic
st't oviT ajjainst n inotlnM', lit-lisii, .md lu'i- (lauti:lil('r, Fciiisa.
Son and dau>;litrr arc sccrdly lovers, hnl the jilot really tuiMis
on the fallirr's drsirc 1o marry tlic dauf^litfr, wliilc llie son is
supposed to be courting tlie niotlier, an example of amusing
eross-pni'poses wliieli ]jO])e Inmself has jjut into graceful verse:

('iil>itnn. I :i Hi'lisii I Si yo ostuvitMu avisiulo

do quo Lucindo os (iiioiiii
— quo on opinion lo tonia
do hoinliro nionos asontaiio —
yo propio tratara atpii,
Boliaa, dol oasaniionto;
que es dar a mi bien auniento
que nos troquenios ansi.
Casado con quien es madre
de mi bien, como oonfio
de vos misma, el liijo mio
vongo yo a tenor per padre;
y Fenisa, mi mujor
y vuestra hija, tendril
padre en Lucindo; y dard
a todo el mundo placer
la discrecion del trocar
las edades por los gustos.

Repetition in sentiment and verse form, a kind of i)oetie jcu
(1 'esprit, is a characteristic manifestation of Lope's coniedia.
As dialogue it is wholly artificial although frequently saved by
his wit or graceful verse or both. In el Acero de Madrid Lisardo
and Riselo together with tlie clever servant, Beltran, have agreed
to meet Belisa and her aunt, Teodora, on the Prado. Before
the latter appear with their servant, Leonor, Beltran recalls
the verses of a popular cantor, whereupon the idea is developed
by each in turn (a romance in a-o), the lackey closing Avith a
liumorous burlesque of the culto sentiments of the other two :

Paseo del Prado
Lisardo y Biselo con capas dc color, bizarroft; y Beltran
TAsardo. ;0, como tardan, Eiselo!

^Que he de haeer?
Eiselo. Amor te valga.

BRAMATIC ART OF LOI'K DE IKCA 41

Lisardo. Tonio que de oiiviilia saiga

deste mi sol el del eielo.
EiseJo. Antes no saldra si sabe

que es sol y que fuera esta.
Beltrdn. Las aves le cantau ya

a Belisa en voz siiave:

Mananicas floridas

del mes de mayo,

recordad a mi niiia,

no duerma ianto.
Lisardo. Campos de Madrid dichosos,

si soys de sus pies pisados;

fuentes, que por ver la huerta

del Duque subis tan alto

el distal de vuestros ojos,

que asomais los blancos rayos

por las verdes celosias,

muros de sus verdes cuadros;

liermosa alfombra de liores,

donde tejiendo y pintando

esta la naturaleza

mas ha de cineo mil afios;

arroyuelos cristalinos,

ruido sonoro y manso,

que parece que correis,

tonos de Juan Bias cantando,.

porque ya corriendo a prisa,

y ya en las guijas despacio,

parece que entrais con fugas,

y que soys tiples y bajos;

recordad a mi niiia,

no duerma tanto.
Risclo. Aves que vais por el viento,

ya del sol clarificado,

sobre sus plunias tendiendo

vuestros vistosos penachos;

las que asomais por los nidos

las cabezas gorjeando,

y las que ya en altas ramas

dais buenos dias al Prado;

trigos que con amapolas,

y mil amarillos lazos

sois un tapiz de verduras

sembrado de papagayos;

dlamos verdes, a quien

con tantas hojas y ramos

vistio de alegre librea,

II i>osni ill" Dit libit', mayo;
)>iini i|iu* la iiifia v«>ii^a,
• nil' osta i'S|K'raii(io Lisiii-.lo,
ii'conliul a 811 tin.
no iluoriiia taiito.
Hiltniii. TiilitMiias lU- JSaii Martin,
jjtMioroso y jiiiro saiito,
«|in> ya J)Oiu'ms ropostoros
coino acoiiiilas do Haco;
cajoiios, quo ya os ciilii is
con fl pan tie loclip l)lan('o;
francosos, que ]>ro^oiiius
aguardiente y Ictiiario;
rarretones de basiiia,
que vais las oalles linqiiainio;
roperos, que anianeceis
eon solicito ouidado,
sin ser ])roeesi(')ii del ('oi]tiis,
las tiendas entapizamlo;
y vosotros, aires frios,
que dais tos y resfriado,
romadizo y otras eosas
a los que salen sudando;
]iorque despierte a la tia,
y ella a Belisa, si acaso
iluernie descuidada agora
de que la aguarda Lisardo,
recordad mi fregona,
no duernia tanto.

Wliile tliis is a striking example of Lope's poetry and wit. lie
repeats the feat later in the play (Act II, scene xxii), and wi- liavc
another specimen of tlie duplication of sentiment and poetic form
in an apostrophe to the winds of Madrid by Lisardo and Risrdo (a
romancf in a-e). the idea being again burlesqued by Beltran, the
servant. In In Viuda ralenciana Lope presents three young gal-
lants, who generally appear together and on various occasions in-
dulge in a balance of dialogue Avith a repetition of verse form. In
Act I, scene v, each enters and recites a sonnet without being
aware of the presence of tlio others ; thereupon all agree to nar-
rate what kind of favors they had enjoyed at the hands of the
young widow. We have three evenly balanced, amusing accounts
of their unsuccessful courtship told in varied romance forms. As

DRAMATIC JUT OF LOI'E DE Vl-JiA 4.'1

a piece of narrative wriltcii willi ^raee and spiirkli-. iiotliiiit; cmihl
be better designed to amuse Ihc audienee. In a later secne wt-
find the three gallants together onec more; om- calls I'or a vrrsc,
■whereupon the three proceed to compose a gloss on it. ( Act 1 1 1.
scene vii.) After these manifestations we arc not snrpriscd to
have the play close witli another example of this tripartite dia-
logue.

The division and eipial distribution of verses or parts tliereof
constitute a phenomenon common in the later comcdia, espe-
cially that of Calderon and his .school. It makes a highly arti-
ficial form of dialogue, capable of certain dranuitic elfect on the
stage, but is easily exaggerated and abused. A fair example
in a comic vein may be found in el Premio dd hi( n Imhldr:

Don Juan. Dejaine, nocio.

Martin. i Que haves .'

Don Juan. |Que tengo de liaeer? Morir.

Martin. Pues ^de esa manera sales?

Leonarda. | Que es esto, Don Juan ?

Don Juan. I'eitlerine.

Leonarda. ^Adonde vas?

Don Juan. A inat;nnie.

Leonarda. ^Por que, sefioi ?

Don Juan. Vox tu {^usto.

Leonarda. | Gusto? j" De que?

Don Juan. Do i-asaite.

Leonarda. ^Oiste a mi padre?

Don Juan. Si.

Leonarda. Pues ^que dijo?

Don Juan. Que me mates.

Leonarda. Yo i<|ue resiiomli?

Don Juan. Tihiezas.

Leonarda. Y |don Pedro?

Don Juan. Necedades.

Leonarda. Sosiegate.

Don Juan. jCoino jiuedo?

Leonarda. i T)\ yo el si ?

Don Juan. Bastu callarle.

Leonarda. Necio estas.

Don Juan. Soy desdi(diado.

Leonarda. Y yo mujer.

Don Juan. Eso baste.

Leonarda. Hahlaiiie Iden.

44 i>i;.i.\tATic .tirr oi' Lvrr: />/•; t nai

Hon Juan. PIstoy iiuutIo.

I.toniirdii. Ksciicliti.

Doit Juan. t Q'"' ''^' •'«' I'scnchnrto?

Lfoiiartla. Kso im lociira.

/)<)(! Jiitiii. Ks i>or ti.

Martin. I'liiocoii r»'|>rostMitHiitos

(luo sabon bioii ol paiu'l. (.!/'.)

— Act 1 1 , sci'iM' ix.

Alul anotlH'i' in a scridus tone in hi fioha para los olros // (lis( r( fa

jujra .s'/;

.ll< jaiitlro. ]Osciicli:i . . .

Piaiia. i\o! ;l':n;i (iik'' .'

Ah'jaiiilro. Hmsiiu^ dc osciicliar.

Diana. No nuicrct.

Alfjandri). Tootlora mo liabli') . . .

Diana. No halilalla.

Ahjandro. ; Por que?

Diana. I'orqiie yo mo ofi'iido.

Alejandro. ^Y si me detuvo?

Diana. lluir.

Alejandro. iHiiir!

Diana. Y fuera bien heoho.

Alejandro. ^ Conio pude?

Diana. Con los pies.

Alejandro. Loca estas.

Diana. Como tii necio.

Alejandro. jTanto rigor!

Diana. Teugo amor.

Alejandro. Y'o, mayor.

Diana. Y^o no lo creo.

Alejandro. Mas ^que te pesa .'

Diana. No hara.

Alejandro. I]so ^ es valor?

Diana. Tengo celos.

Alejandro. ^"^lorir me dejas?

Diana. iQue gracia!

Alejandro. Ya me enojo.

Diana. Y yo me vengo.

Alejandro. Dire quien soy.

Diana. Y'a lo has difho.

Alejandro. lA quien?

Diana. A quien aborrezco.

Alejandro. jFuerte mujer!

Diana. Esto soy.

— Act III, scene v.

DBAMATIC AL'T OF LOI'K Jur (av;.! 4,-,

In my notes appended to h, Duma hoha 1 had oeeasion to sp.-ak of
an artificial disti-ibution of stan/as, verse's and verse fra-m.-nts
occurring- in la Nochc toledana (Act III, scenes xi-xv), aiurrcpn--
senting the extreme to which this can be carried. A final rxampl..
of this feature, taken from a tragedy, and demonstrating that
there is no characteristic of form or content for \vhi<-h a paralK'l
cannot be found in the original inventoi-. I.op.-. is the last scene
of Act II of la Corona merecida:

^^cy- Muy bien venidos seals.

Voy a aeompauar a la Reina;
vedine dcspucs.
Don 'ihigo. {up.) Tieinblo.

Boiia Sol. {ap.) Tenio.

Leonor. (ap.) Yo me abraso.

Bey. (ap.) Yo nie quenio.

Leonor. (ap.) Celos viveii.

Sey. (ap.) Amor reina. (vanse los rcyr.s) .

Don Ihigo. Vamos, Sol.

Don Alvaro. Conteiito estoy. (raitse Doha Sol, Don Ihigo

y Don Alvaro).
Don Manrique. EI Eey se abrasa.
Don Pedro. A Sol mira^

Don Manrique. jQue os ha dicho dona Elvira?
Do7i Pedro. Que muy en su graeia estoy.

Don Manrique. Bella es Sol.

Don Pedro. De un angel copia.

Don Manrique. Muelio temo que este sol

a uuestro rey espauol

nos le ha de haeer de Etiopia.

Even in los Comendadores de Cordoba, in wliich om- woidil
liardly expect such artifice, may be found a balance of thi-ct* son-
nets and other verse pendants (Act I, scene vi).

The mechanical features of the dialogue just discussed arc by
no means a characteristic to be found oidy in Lope's latest man-
ner. Their presence in numerous plays mentioned in the list
of comedias first printed in 1604 proves that their rhetorical
effectiveness appealed to him early in his career.

46 nh'.tM.tTic iirr or i.oi'i: ni-: tavm

roKTK' I, VNtirACK .\M> TIKUCIIT: COXCi: I'll S.MO AM) (11. TO

It is a j^rt'jit iiiisi'orluiit' that tlio lan}j:iia^t' of ])(Ktry lias in
so many cases proved to be a liarrier between a irfeat w ritn- and
jtosterity. Tliat tbis is so in tbe ease of the diaiiia csiteciallN'
is evicb'nt t'(ir two reasons. I^'irst, we do nol sjii'ak in vi-rse, and
tile world of all vei'se-plays is ibertd'oi'e on a biirlier iexcl and
moves in a finer atmosi)]iere tlian tliat of eoinmon day. Second,
tbe appreciation of vei-se is tbe j^ifl of a few: it demands a
special atti'ibnte of spirit, an estbetic emotion oi' elTort of wldeb
only a small minority of men is capable. If we add to tbis tbe
passing moods, tbe temi)orary vognes. individual and national
peculiarities, to say notbing of tbe struct ural and niecbanical
ditlHeulties of wbieb vei-se is capable, tbe average student of
literature is apt to find bimself in front of a stone wall. To all
tbis Lope's unlimited poetic gifts are no exception. Wliile be
is nne(|ualled in supei'ior (jualities of genius wbieb will never
let a large part of bis creation die, but will ])lace bim always in
tbe forefront of tbe \vorld's great poets, bis poetic language
possesses to no small degree certain elements of a local or transi-
tory quality. These demand in the reader not only an excep-
tional gift of esthetic appreciation but an intelligent grasp of
a peculiar type or vogue of literaiy culture distinctly a thing
of the past. Tbe difficult characteristics of Lope's style which
the average student may understand less and less as the years
go on are those of all poetry of his time, and are generally
designated, for the sake of convenience, as conceptismo and
culio. I shall use tbe latter form instead of tbe longer ciiltc-
ranismo since it is tbe one preferred by Lope bimself. To stigma-
tize with these names everything poetic Avhich has the earmarks
of either quality is a mistake, for isolated concept os, or an occa-
sional citlto verse by no means indicate a poet's manner. Indeed
it should be clearly understood in any criticism of Spanish
poetry of the Golden Age that the presence of these elements

DBAMATIC AST OF LOPE DK lECA 47

would never liave created the names concrplismo and nilto had
it not been for tlieir abuse. Poetic languaj;.' lias never br.-n and
could never be devoid of either ti-ait, and llic c.-uturirs inuii.-
diately preceding Lope furnisli many fine an<l illnminalint,'
examples of them. I shall presently attempt to (hserilx- both
conceptismo and culto a little in detail, especially by frivin<; cita-
tions from Lope himself. Nothinji: tlii-ows moi-c li<rlii ,„) Ids art
and his work than consideration of the growth of |)oetic languagf
and of the universality of peculiar thoughts, figures an<l woi-d
colors.

Poetry may be the most assimilativ*' and imitativi', even if
it is the most original form of expression which tlic human spirit
has. To put it baldly everything is grist to its mill. It ab.sorl)s
from nature, science, philovsophy and the whole thought-realm
engendered by human experience; it takes color from the arts
and gets its voice from music itself. Ideas related to all these
are consequently present in all poets. Let me be a little more
specific as regards Spanish litei-ature. Provem-al pot-try ami
its lineal descendants in Spain are filled with conccptos and
culto; the cancioncros, the chief poets of the fifteenth century,
whose name is legion, furnish excellent examples, and the great
poets of the sixteenth century employ this form of language,
though in varying degree. I do not believe that any date can
or need be set for the earliest presence of concfpiismo and culto;
nor need we be concerned with anything ])ut Their abuse, ami that
falls chiefly within the seventeenth century.

Our English poets furnish abundant exami)les of this form
of expression, but it has passed without a particular designation
as only the exaggeration of the jjhenomenon makes it offensive.
Neither Spanish term as such can be related to Euphuism. Wlien
Shakespeare says: "All the world's a stage, and all the m.-n
and women merely players," he puts a speech into ilir moulli of
Jacques which is full of conccptos. "To take ui> arms against
a sea of troubles" is a conccpto, as is also ITandet's little dog-
gerel :

48 nh'.LM.iTK tirr or i.ori-: i>e \i:r,A

Iiii|i«'rious Cni'siir ilfiul iiml tiiniod to <'lny,
Mijjht stop II liolo to koi'p tlu> wiml away:
O, that that I'arth, which kopt the world in awe
SliotiM i>:it(h a wall to oxpol tlu' wiiitiM's Haw!

0\\ till' otlitT liiilld :

Mow is tlio wintor of our discoiitoiit

Made glorious sumnu'r by this sun ol' York,

(h'irhard III)

is purt' nilti) ill its figures of speech : .ind ' ' 'IMiis to me in drcndfiil
seereey impart they did" (Hamlet) is (h'ciih'dly cuKo because
of the inverted syntax. Tennyson's eharining verses,

Her feet have touched the meadows,
And left the daisies rosy,

present a beautiful conccpto for which we have a parallel in
Lope's cl Acero de Madrid:

Nina que, al salir el alba
dorando los verdes prados,
osinaltan el de Madrid
de jazniines tus pies blancos.

Lowell. SO fond of over-fine writing, is full of concrptos and
culto, even in his prose. When Carlyle tells us of Burns that
"he has a poet's soul, and strives towards the Infinite and
Eternal, and soon feels that all this is but mounting to the
house-top to reach the stars," he indulges in a remarkably
beautiful conccpto. But why shall we give it this name, and
spoil what we are in the habit of calling pure poetry by an
absurd designation? Let us rather return to conceptismo and
culto, that abuse of legitimate, poetic language, and get a little
clearer idea of their nature. I shall then give some examples
taken from Lope's comedia.

To begin with, the two phenomena are closely related as are
most manifestations of darkness and obscurity in literature, and
the extended use of one was bound to involve the other. As they
overlapped in their uses, so they strengthened one another in

DRAMATIC JET OF LOPK DE VKdA 4!»

that vogue wliicli was successful, in part at least, in ruining
Spanish poetry of the seventeenth century. Loj)e hardly seems
to make a very clear distinction between lliem. and when lie
criticises his contemporaries he ([uite genei-ally brands their
defects only as culto. Thus he wrote in the iJorotta:

Cesar. Aqucl poeta es culto, que eultiva de suerte su ])oenia. quo no

(leja cosa aspera ni escura, conio un labrador un canipo;
que eso es cultura, auuque ellos diran que lo toiuan )ior
oniameuto.

Liidoviro. La ley seguuda de las oosas (|ue no se tienen per escritas dice,
que son iguales lo no entendido y lo que no fu6 escrito.

Cesar. A mi me parece que al nonibre culto no puede haber etimologia

que mejor le venga que la limpieza y el despcjo de la sen-
tencia lib re de la eseuridad; que no es ornamento de la
oracion la confusion de los terminos mal colocados, y la
barbara frase tiai<la de los cabellos con nietafora sobre
metafora.

Litdorico. Viciosa es la oracion en buoiia logica, que se saca por t<?rminos
escuros y improprios, y que mas escurece que declara la
naturaleza de la cosa definida; y si las que entre si tienon
esencial correspondeneia no se pueden definir la una sin la
otra, J que relacion hard velera paloma a las naves ]>ara
describirlas o definirlas por este termino, pues que lo niisnio
fuera velero cernicalo a un galeon, velera cigiieiia a una
fragata?

This justifies the inference that a poet guilty of obscurity ;ind of
using too many conceptos is plainly culto. In nuiny ways cullo
writing was an abuse and distortion of concrptismo, as qonrfo-
rismo was a pathological and finally an insane exaggeration of
culto. Conccptismo as such, that is as an abuse, was a conscious
attempt at fine writing, the expression of a thought series in
peculiar figures, especially similes and metaphors which were, on
the whole, clear enough, but avoided nornud denotations, descrip-
tions or sentiments too directly and baldly expressed. A marked
distinction of conccptismo is its decided leaning toward meta-
physical expression. Culto involves the syntax and outer form
first of all, then does away with all directness and makes it a
rule never to call a spade a spade. While conccptismo may say
''the butterfly is a winged flower,"' culto goes farther, drops
any comparison which explains, and speaks only of winged

'iO in:. t.M.i IK i/.'y OF i.ori: /'/•; \ kca

rtowri's and slat ioiiary l»iit t«'itlit's ; from wliidi absurdity llic
i-i-adrr infers thai r\\v is lucaiit i'oi- the otlnr. ('(iiirt plisnio
iinolvi's till' iiitluriicfs of pliilosopliy and wil. ttilhi. the in\cn-
tioM of nnkniiwn lalini/.tMl woi-ds, tlic traiisft-r of tlic liindion of
parts of sptM'cli. nouns l)cin«i^ tortni'fd into vfi-h forms, color
plii-ascs takinjr tin- place (if the noun, and inscpai'ahlc woids l)cin<;
separated. Ciilto is thus frequently a (piestion of the meclianisni
of spiM't'h. tojri'tluT with an aliusc of jioctic; license and the unwar-
ranted form of isolated and twisted expressions of thoujfht. Cnii-
(updsmo is l)ased on clever ideas; cidln is (i^'ured, o])scure(| aMii
unwai'rantcd |)lii-aseoloj2fy, apparently intended to shock ami im-
pi-ess hy its oriy:inality. At their worst i)otli are guilty of un-
natural, seniiacadi'niic phrase-making, inHueneed in many of its
earlier expressions of the fifteenth and sixteenth centuries by a
misguided attempt to inutate the classics. This elTort concei-ned
itsi'lf not oidy with the elements of style, such as invei-sion, trans-
position, and so on, but also of content, the ver])iage ef classic
mythology, fiction and legend being esjx'cially responsible foi'
much useless lumber in the language of the Renascence. Of this
I shall have a little more to say in a subsequent chapter. It is
impossible to overestimate the figures of speech which drew their
life's blood from the classics. We need tliink only of Aurora,
Phoebus, Diana and the long list of personifications to get a faint
idea of this inherited vocabulary. As early as the Celestina we
have a specimen intended to ridicule this growing mannerism.
Calisto exclaims:

. . . aunque primero seau los cauallos de Febo ai)acentado3 en aquellos
verdes prados, que suelen, quando han dado fin a su Jornada. Senipronio —
De.xa, seuor, essos rodeos, dexa essas poesias, que no es habla conueniente
la que a todos no es coniun, la que todos no partifipan, la que pofos
entienden. Di: aunque se ponga el sol, e sabrau todos lo (jue dizes.

And how shall we estimate properly the influence exerted
upon this language by Avorks of the realm of religion and phil-
osophy ? The growth of the poetic language of the sixteenth
century can be admirably studied in the writings of the most
prominent authors, beginning with the one whose taste was always
unerringly good, Garcilaso de la Vega. In him the classic char-

DBAMATIC AllT OF f.ol'K />/.; fEGA 51

acter fused witli Ww spii-it of tlic Italian ports is not ic-ahly lli.-
strongest, but as we advaii.-,. in ihr rrnlury tlic iiiHuencr of
neoplatonism, followed by that of the mystic and ascetic writers,
makes itself felt more and more, so that l)efoi-e the close of the
century we have a fusion of the three. Both neoplatonism and
mysticism furnished spiritual and metaphysical conceptions and
their philosophic thought a pleasing semio])scurity which became
the hall-mark of most conccptismo. Imitation of vague imagery
was, furthermore, justified on the ground that Plato himself
puso cortinas (veiled) his 'divine' writings. The philosophy of
such books as Le(5n Hebreo's Didlogos de Amor spread over the
whole Latin world; in Italy and Spain especially it found an
echo in works of a novelistic or seminovelistic character, in love
and adventure stories, in the pastoral novel, and especially in
lyric poetry. It is small wonder, then, that among the poets of
Spain the influence of this philosophy and, close upon its heels,
that of mysticism should have added so greatly to the wealth of
their poetic language. Nor can there be any doubt that as long
as all imitation was kept within proper bounds it servetl to
develop new veins of exquisite expression. The writings of the
remarkable poets enumerated bj^ Lope in his Dorotea (act IV,
scene ii) contain some of the best and some of the worst of
Spanish lyric verse ; therefore a study of their speech could be
made in proper order from Garcilaso to Quevedo and Gongora
to show^ the development of all those poetic tr-aits which nmke
verse of the siglo de oro a highly complex creation, and its reading
no unmixed enjoyment. From what has just been stated, it is
clear that prose fiction also contributed to strengthen the above
mentioned influences. This is especially true of the pastoral
novel, and careful consideration of the Diana of IMonteniayor.
particularly that of the great poet, Gil Polo, the Galatea of Cer-
vantes, the Pastor de Filida by Galvez de IMontalvo, and others,
will bear me out. All are full of innumerable specimens of this
language.

Lope, the greatest member of the brotherhood of i)oeTs as
well as the most assimilative and versatile g.Miius of them all,

52 nii.iM.iiii MiT or i.orr: ni-: rh:<:.i

naturally jravc t'xprcssion to every phase of poetic speecli of
his ilaN". Kxamples of his lyric verse in its piifest form, Iciis!
atTeote»l liy vo<;ues or peculiarities of any kind, are Uiiown 1o .-ill
lovers of Spanish literature. His cdnKdid fui-uislies examples
of every conceivahle vein: from profoundly tra^'ic passages wliich
must have j;ripp«'d his audience, lo tlie li<;lites1 and iraNcsl vci-sc
iiuaginahle. 'Piiere are models of ever,\- verse structure to^n'tiiei-
with an infinite i-an^e in sentiment. J'a.ssages with concessions 1o
cimci i)tis)iu> and nilht are found as well as every type of puidy
popular i)Oetry ; this is generally maiked by ex(|nisile local flavor,
and is as full of life and sparkle today as it was Ilire<' luindrcd
y»'ars ago. Ballads, h trillas, glosas, cuntarcs, fables, anecdotes,
notably romaiuillos, which are a pure jru (]'<si>ril. and many
otlier forms, are a part of the treasure which lie has left us. Of
liis popular verse practically untarnished by culto ininuiieral)le
examples might be given of the flavor of the following; here we
have a picture which recalls scenes painted by Goya, so vividly
ilo we see the dancer (iil l)t'fore us.

Musieos. {caniaiiilo)
;0h que bieu que baila Gil
con los iiiozos de Barajas,
la cliacona a las soiiajas
y el villano al taniboril!
jOh qui bien, cierto y galan,
baila Gil, taiiendo Andres!
O pone fuego en los pies,
o al aire volando van.
No hay mozo que tan gentil
agora baile en Barajas,
la chacona a las sonajas
y el villano al taniboril.
^Que moza desecharia
un mozo de tal donaire,
que da de coces al aire,
y a volar le desafia?
A lo menos mas sutil,
cuando baila se hac-e rajas,
la chacona a las sonajas,
y el villano al tamboril.

— Al pa-wr del Arroyo, I, xii.

DRAMATIC AliT OF LOPE J>E JKOA 0

Or of the following, a version of a well known fal)!.- :

Uu cueiito viejo ha vouiilo

aqui a pedir de cogote.

Jutaronse los ratones

para librarse del gato,

y despues de un largo rato

de disputas y opiniones,

dijeron que acertan'aii

en ponerle un cascabel;

que andando el gato con el,

guardarse mejor podiau.

Salio un raton barbicano,

eolilargo, hociquiromo,

y encrespando el grueso lomo,

dijo al senado roniano,

despues de hablar culto un rato:

gQuien de todos ha de ser

el que se atreva a poner

ese caseabel al gato ?

— La Esclava de su gah'in, I, x.

Nothing, however, equals Lope's lyric inspiration at its licst,
as, for example, the following:

Musicos. (Canten ;/ danzan)
Dente parabienes
el mayo garrido,
los alegres eampos,
las fuentes y rios.
Alcen las cabezas
los verdes alisos,
y con frutos nuevos
almendros floridos.
Echen las mananas,
despues del roeio,
en espadas verdes
guarnicion de lirios.
Suban los ganados
por el monte mismo
que cubrio la nieve,
a pacer tomillos.

(Folia)
Y a los nuevos desposados
eche Dio3 su bendicion;

54 in:.\M.ii ir .!/.•/• or i.ori: i>e \ eua

]>iiriilii('>ii los iloii los jirndos,
pufs lioy jmra on uiio son.

(VHilvd <i il(iii:tir)
Moiitni'iiis lioliitlas
y soliorhios risi-os,
anti);uas iMiciiias
y rohustos ])inoa,
(la<l i>aso a las ajjnas
on arioyos liinpios,
(]no a los vallos hajaii
<le los hii'los frios.

Canton ruiscnoros, '*•*

y I'on tliilces silbos
sus ainoros cuonten
a cstos vordcs niirtos.
Fabriquen las aves
eon nuevo artifitMO
l^ara sus liijuolos
aniorosos iiidos.

(Folia)
Y a los nuevos ilosposados
eche Dios su bendicion;
parabien les den los prailos,
piles hoy para en iino son.

— Peribdnez y cl comendador dc Ocaua, T.

I spoke above of the barrier which verse forms may be to a
reader of subsequent ages. How true this is becomes especially
evident from the i)assages where the language of genuine inspira-
tion is marred by lapses into culto. Lope rarely spoils the work of
his hand, but there are, nevertheless, verses in which the logical
clearness and simplicity receive an ugly and unnatural turn by
touches of the current vogue. Sometimes even the speech of char-
acters supposed to be of the people is artistically endangered and
given an artificial turn. This, in my opinion, is the case with the
rustic Peribanez, otherwise one of Lope's great creations. In
el Anzuelo de Fenisa the language is not always satisfactory
because the characters of low life — gamblers, soldiers, bawds, and
others at home in a shipping port — indulge in a singular purity
of speech. "We have, however, another good bit of evidence here
of Lope's shrinking from unveiled improprieties and indecencies

DBAMATIC Airr OF LOVE l)K VKdA :,:,

which compel his worst enemii's to adiuit tliat in liis literary art
he is marked by a singular and pleasing fineness of feeling. II<'
is always at his best when he gives us i)ietures in little, liri.-f
characterizations presenting an attitude of mind or a pt'i-s(inal
trait in which his gift of succinct plu-ase is astoumling. I can-
not refi-ain from quoting the following domestic scene, so that
the reader may judge for himself how deep wci-c Lope's symi»a-
thies with the people :

Cuando se iiiuestra cl lucero,
viene del canipo mi esposo,
de su cena deseoso;
sientele el alma primero,
y salgo a abrille la puerta,
arrojaiido el alniohadilla;
que siempre tengo en la villa
quien mis labores concierta.
El de las mulas se arroja,
y yo me arrojo en sus brazos;
tal vez de nuestros abrazos
la bestia hambrienta se enoja,
y sintiendola grunir,
dice: "En dandole la c-ena
al ganado, cara buena, .
volvera Pedro a salir. ' '
Mientras el paja les echa,
ir por cebada me manda;
yo la traigo, el la zaranda,
y deja la que aprovecha.
Eevuelvela en el pesebre,
y alii me vuelve a abrazar;
que no hay tan bajo lugar
que el amor no le eelebre.
Salimos donde ya esta
dandonos voces la olla,
porque el ajo y la cel)olla,
fuera del olor que da
por toda nuestra cocina,
tocan a la cobertera
el villano de manera,
que a bailalle nos inclina.
Sacola en limpios manteles,
no en plata aunque yo quisiora;
platos son de Talavera,
que estan vertiendo daveles.

.-)6 i)];.iM.irii' .urr or iovf i>i-: i i:<;.i

Avaholo su I'Siinlilla
do sojuis I'Oii till iniinor,
t|Ut' no la coiiio iM»\jor
el senor do iiiuosa villa;
y 6\ lo paga j)oi(iiic :i t'fi',
(|iio nponas hociulo fiiiiia,
do qiiP, conio a su jialoina,
lo que OS inojor no inc do.
liolio y doja la niitad,
Ix'liolo las fiiorzaa yo;
traigo olivas, y si no,
es postre la voluiitad.
Aoabada la coniida,
puestas las manos los dos,
di'unosle gracias a Dies
])or la moroed reoebida;
y vanionos a acostar,
dondo le posa a la aurora
cuando se llega la hora
de venirnos a llaniar.

— Peribdnez y c1 romendador dc Ocana. 1.

The followiiiir is tlu> i)Oi-trait of a fortuiic-luiiiliiif"; lln<h>. willi
realistic touches not unwoi-tliy of VelAzciucz, while the satii-ical
wit reminds of the great Quevedo:

;No sine venga un maneebo
destos de ahora, de alcorza,
con el sombrerito a orza,
pluma corta, cordon nnevo,
cuello abierto muy parojo,
punos a lo veneciano,
lo de fuera limpio y sano,
lo de dentro sucio y viejo;
botas justas, sin podellas
descalzar en todo un mes,
'las calzas hasta los pies,
el bigote a las estrellas;
jaboncillos y copete,
cadena falsa que asombre,
guantes de ambar, y grande honibre
de un soneto y un billete;
y con sus manos lavadas
los tres mil de renta pesque,
con que un poco se refresque
entre sabanas delgadas;

DRAMATIC AIIT OF LOPE l)i: rKtJA .-

y pasados ot-ho dias,

se vaya a ver forasteras,

0 en amistades primeras

vuelva a deshacer las mias!

Vendra tarde, yo estare

celosa, dara mi hacienda,

comenzara la contienda

desto de si fue o no fue.

Yo escondere y el dara;

buscara deudas por mi,

entrara justicia aqui,

voces y aun coces habra;

no habra noche, no habra dia,

que la casa no alborote . . .

— Daca la carta de dote.

— Soltad la hacienda que es niia.

— Entrad en esta escritura.

—No quiero. — jAh si! ^No quereis?

Yo OS hare, infame, que entreis,

si el brio de ahora os dura. —

Y que mientras mas me postro,

me haga muy mas apriesa

de dos titulos condesa,

Cocentaina y Punoenrostro.

Yo he dicho.

— La ViUda vahiiriiinn. T, iv.

The soldier sketched in the following excerpt stands hodily
before the reader:

Los soldados no podemos
amar con secreto, y ser
constantes en el querer;
que estas dos faltas tenemos.
Apenas entra el soldado
con las medias de color,
calzon de extraSa labor,
sombrero rico empluniado.
ligas con oro, zapato
bianco, jubon de Milan,
cuando ya todos estcin
murmurando su recato.
Llevan colores y brio
los ojos, y en galas solas
mas jarcias y banderolas
que por la barra el navio.

5S DiriM.iric .11; r of i.oi'i-: in-: i iia.i

Vwon j (■onstaiiciii »'ii ol <iu»M<'r.'

^ fonio jtui'tlo sor foiistiiiuia .'

Ya t'sti't t'li Flandt's, \:\ i'-i\{\ <mi I'l-.-mci;!,

ol niisoiitt', I'lla iiiujcr . . .

— i Bioii liaya mi ('iiinlicion!

~-l.<i Xoclit' hihddiKi. II, i.

Or take an iniiuitahlr cxaiuplc ol" a servant's wit; lie counsels
liis nnister to steer away i'l-oni the shoals of matrimony:

Coiisiiloia una imijor

n tu lado al acostar,

a tu lailo al lovautar,

y al iiiisino lado al coiuor;

hiejjo otra noche a tu lado,

si ol ])ie alaijjas, mujor tojia,

si quicres tiiar la ropa,

iiiujer te jjana ol (•uida<lo;

si ec'has un brazo, uuijor;

si niiras, a iiiujer niiras,

en niujer das si respiras,

y aun te sabra respondor.

Considerala tanibiou

con dos mil iniperfoccionos,

que no eaben en razones

ni en boca de honibre de bien;

y veras que esta Diana,

que hoy como el sol maravilla,

per cualquiera fregoncilla

querras trocarla manana.

— EJ Ausente en el lugar, ITT, xvi.

In the latter passage we have the cynical attitude toward
womankind of the delightful Esteban, one of Lope's most note-
worthy creations. But these sparkling and natural passages are
occasionally impaired by concessions to the current vogue of
poetic speech. Perhaps Lope yielded in this, as he did in his
assimilation of literary inheritances, to the spirit of contemporary
verse. This is all the more to be regretted, because he had per-
fected his gift of expression in many ways since his experimental
beginnings. The elaborate, less facile, less plastic style of his
early verse had given place to simplicity, grace and flexibility,
to a fine sense of fitness in word and expression, to a variety of

DRAMATIC AET OF LOPE I)K VEGA .",9

melody in which sweetness alternates with force and (h-ptli, in
short, an abundance of qualities surpassed by no other Spanish
poet and equalled by very few. It is, tlicrcforc, to be rc^i-cttcd
that he included the defects of coucrptismo and culfo. Exainph's
of the abuse of the latter are by no means excessive, although
they increase in his later style, that is, during the last twelve
or fifteen years of his life. One of the most striking examples
of Lope's kind of culto may be found in la Nochc dc San Juan,
which has the excuse of having been written for a highly artificial
purpose, namely, a court festival. A great many passages of
this play appear to have been designed for the royal box, but if
Phillip and his court family understood them they sliould Itc
given credit for extraordinary powers of divination.

Una manaua de abril

cuando nueva sangre cobra

cuanto en tierra, en aire, en agua,

0 corre, o vuela o se moja;

cuando por los secos ramos

nuevo humor pimpollos brota,

en cuyas pequenas cunas

estan los frutos sin forma.;

cuando Filomenas dulces

eantan y piensan que lloran

haciendo musicos libros

de los alamos las copas,

con achaques del calor

(invencion de gente moza

que contra el recogimiento

tal vez por remedio toma)

baje a la casa del eanipo

cuando la celeste concha

abierto el dorado nacar

flores baiiaba en aljofar.

Llevaba por compaiiia

esas dos esdavas solas

que por el color pudieran

servir para el sol de sombra, etc., Act IT.

Since every defect is more fairly judged by comparison with
the works of compatriots, it is only just to say that we may find
examples like the above scores of times in Caldcrou and his eon-

60 iu;.iM. I lie in I or love />/•; vega

tiMuporarii's wlu-ii \vf sliduld liiid \n\\ n sin^xlc iustaiicc in Lope.
Let nu' now ^ivt- a lew moi-c rxanipU's of Lope's cinift ptisnio niu\
culto, as lln'V inav aiil in tin- iifci'ssary study of one of liif features
of his art. A good example of concept isnio fonsisting of a ck'viT
si'ries of ligiiros may l)e found in the foUowin^ characterization
of <7 Amor:

V («s inoliiuMo I'l amor;

quo tambioii doiitro lii-l pi'tlio

nil iiiuliiio tioiu' hi'ilio

l>!ua iiioier mi dolor.

La pieilra «loi j>eiisamit.'iito

coil el agiia de mis ojos,

molicudo trigo de euojos,

hace hariua de tornicuto.

De aquesta se cuece el pan

de dolor que me sustenta;

que cuando mas me alinienta,

es c'uaiido meuos me dan.

— El Molina, I[, viii.

Or tlie following from la Viuda valcnciana; Leonarda receives
her lover in the dark, so as not to be recognized; he says:

For Dies, que es hecho cruel.

Ya me enciende el corazon

amor sin luz, pues no veo;

que ha tocado en el deseo

como piedra el eslabon.

Como el hombre que esta a escuras,

y, para encender luz, toca,

fue en mi alma vuestra boca,

que ha dado centellas puras.

Yesca ha sido el corazon,

que era materia dispuesta,

y el golpe fue la respuesta,

y la lengua el eslabon.

Tengo una luz encendida

en el alma, que os ve y trata,

si el aire no me la mata

de veros escurecida.

No OS vea yo como ciego

dentro en la imaginacion,

porque parece invencion

haber tinieblas y fuego.

DRAMATIC ABT OF LOPE DE lEGA iA

Si.no es mi fianza buona,
no se comience la historia;
y pues es limbo sin gloria,
uo sea limbo con pena.
Sed vos, para que yo os voa,
como pintor extremado,
que aunque la uoehe ha pintado,
deja luz con que se vea.

In these we find a relative simplicity of thought; hut the fol-
lowing forced play on the concept o, "srr", recalls the travesty
in Don Quixote on "la razon de la sinrazmi." The nietaj)hysieal
nature of conceptismo is also evident in this passage :

iCreeras entonces, Seiiora,
lo que estimo tu belleza ?
Diras tu que es mas riqueza
ser, Elena, mi mujer;
y sabre yo responder
que aun el propio ser perdicra,
si, no siendo, ser pudiera
que fuera tuyo sin ser.
Pues quien dejara por ti
el propio ser en que vive,
no liara mucho en que se prive
de lo que es fuera de si.

— La Esclava de su galan. I, i.

An example of a mechanical heaping of brief conceptos may

be found in la Boha para los otros y discreta para si :

El brio nace en las almas,
la ejecucion en los pechos,
lo gallardo en el valor,
lo altivo en los pensaniientos,
lo animoso en la esperanza,
lo alentado en el deseo,
lo bravo en el corazon,
lo valiente en el despecho,
lo cortes en la prudencia,
lo arrojado en el desprecio,
lo generoso en la sangre,
lo amoroso en el empleo,
lo temerario en la causa,
lo apacible en el despejo,
lo piadoso en el amor,
V lo terrible en los celos.

ri2 nuASiMic AHT OF i.ori-: in-: //•;<;. i

III most of the passaf?('s just citfd llic iiicliipliysical clmrach r
of coiict pi i.'ilno is nhsnit, luit it is vci'v l'i'('(|ii('iitly present in the
numerous sonnets wliieli Lope lu>s introduced into liis ronxdins
in the form ot" letters or monoloj^ues. hi ninny eases (■<ni(( plisnin
nuiy lie annisintr and unobjeetionahle wlien eomhined with Lope's
wit. Takt', for examph'. the foMowinj; passage in hi Kschu'd dc
su Galdii:

EJi no. I \ el SfiMliii .'

]>i)ii JiiiUi. StM'fi fill.

Ell mi \i(la lo \v\{\

siiio a ti, tiue lo ores iiiia.
PnhiK i^"^ ji;losa hacorse jioilia!

Ehna. {("uiiio.'

Pedro. Escucha.

Elena. l>i.

Pedro. Wu-^.

Es el ti (liniimitivo

del tu, y es hijo del nii,

l)orque le regala an si

con el aoento mas vivo.

El tu es bajo, y tiple el mi.

Til manda, tii desafia,

tu es trompeta, tu es coehero;

ti es clarin, ti es chirimia:

y por eso al tu no quiero,

sino a ti, que lo eres mia.

But Lope's sane judgment always triumphs, and Ids ridicule
of the contemporary vogue with its unpoetic defects forms a
valuable contribution to the literary criticism of his time. In
Guardar y guardarsc we have an amusing passage in wliicli a
lackey conjures his master in culto:

Dona Elvira. jlngrato! Quejosa quedo

de tu crueldad.

Chacon. (A su aino.) jNo te nuieven

aquellas perlas hermosas,
que en aquel jardin de rosas
dos cielos de ninas llueven?

Don Felix ; Cielos de ninas, Chacon?

Chacon. ^No la ves hacer pucheros?

DRAMATIC ART OF LOPK DK \K(iA «3

Don Felix Ojos, traiciou es penleros . . .

— Mas si quedarnie es traicioii,
el quedarnie dififulto,
y el irme si ingrato soy.

Chacon, Para conjurarte estoy,

Senor, en lenguaje culto.
Por aquel candor brillante
que viva luz y alma osteuta,
aunque canoro se argeuta
el pielago naufragante,
que de sus, te duelas, ojos.

And ill the same play the servant l)urlrs(|ncs tlie s|)eech of Iiu'-s
who described her mistress as she rises and dresses, in exaggerat<Ml
culto.

Chacon. En efeto, Ines, ^esta
tocandose tu seuora,
"y es sol que los eielos doia?"
Ines. ^Pues no?

Chacon. No.

Ines. ^Comienzas ya?

Chacon. Pareeeme que la veo

con cuarenta redomillas,
cofrecillos y vajillas,
ir por extrano rodeo
en busca de la hermosura.

In lo Cierto por lo dudoso a very obscure sonnet of Don Enrique
is ridiculed by the servant Ramiro (act III, .scene iv). "While
in Servir a Senor discreto we find a characterization of culto
poetry which classes it as a disease :

Elvira. Oigo decir que a poetas

suele venirles furor,

y mas en cosas de amor,

por ciertas causas secretas.
Giron. Dicen los libros verdad.
Elvira. Y ann un medico decia

que era esta negra poesia

especie de enfermedad.

Sarna, dijo, a lo divino,

que de uno en otro se pega,

porque se rasea y se estriega,

y es todo un puro venino.

Digame, seiior poeta,

;Por mi ha hecho esta invencion.

64 nuAMMic .iirr or uiri-: dk \ eca

The til's! st'ciu' of ai-t 1 1 ot" la linlxi puni Ins ol ros i/ disciu In
pani si may also iiit« rcsl the reader. I>ut liest ol" all is the I'ol-
lowiiif; sonnet with whieh we elose Lopes ridieule ol' the eurrent
poetie fad :

l'oiiji'iri)to, (ItMiioiiio ciiltiMano,

(|U0 siilj;as dosto niozo iiiisiMJiitli',

(|U(' apoiias sabc lialiiar, i-aso iiotahlc,

y yii pri'suiiu' ilo Anfioii tohano.

Tor la liiM ilc Ai)olo soborano

to foiijmo, ciiltoio inexorable,

(pie lo <lo8 libertad para qvie liable

en sii iiativo itlioina i-astellano.

" ^ Por que me tonpies bail)ara tan inento?

i Que I'ultibona y brindalin tabaco

caraotiquizan toda intosa frentc?"

" — Habia ciistiano, perro. — Soy polaco.

— Teneille, que se va. — No nie ates, tente;

sneltame. — A(]ui de Apolo. — AquI de Baco."

— Ixinuiji del Licenciado Jinri/uillos.

The above examples may siififice to show that certain qualities
of culfo and co)iC( ptisnio are not to be wholly condemned, that
they ai-e capable of rising to genuine expressions of beauty and
wit, and that their danger lay not in their use but their exag-
geration and abuse.

Inasmuch as I am merely at1emi)ting to give a brief outline
of Lope's dramatic art I cannot do justice at this i)oint to his
mind and thought, related and fascinating though they be. In-
deed, Lope deserves to have a comprehensive work written on
this subject on account of the richness and the wide scope of his
sympathies. It would be strange were it otherwise in a dramat-
ist who has composed so many plays touching every human theme.
This does not mean that Lope gives utterance to a distinct phil-
osophy any more than does Cervantes, unless unrebellious acqui-
escence in the constituted order of things makes one. His point
of view on a great variety of questions concerning the individual,
society and the state can be gleaned from his comedias. His
loyal religious attitude, as expressed in words, at least, is as
normal and undisturbed as that of any man of the people ; his
ideas on politics and society throw a great deal of light on the

DBAMATIC AIIT OF JA)PK ])]■; \i:<;a ,;,-,

current thought of liis time. In no otlier sense is his comalui
a more complete or satisfactory pictni-e of contemporary life.
This IS tlie i-eal, the unstudied Lope wlio presents an image of
his times in those highly diversified tlioughts of his innumerable
characters. Although the elements of his dramatic formula may
be circumscribed by tradition or stage limitations, still th.'
thought processes of the great playwright, eoiiscir)iis!y or un-
consciously, filled his dialogue with some of the best documentai-y
evidence that we possess on the mental and spiritual life of tlir
men and women of his day. As regards the political side, much
may be gleaned from the comedia on monarchy, kingship and
government in general, the utterance revealing now and then
a surprisingly frank criticism of the abuses and injustices inh.-i--
ent in sovereign power. To be sure, Lope usually s.-ts up hypoth-
etical cases, discusses ideal states, and where he chooses to give
detailed examples of evil deeds or impulses in rulers, he places
his action in times long past and presents a king of distant cen-
turies or foreign lands. His attitude toward the power and
position of aristocracies is on the whole fairly illuminating, his
most convincing expressions being those in which he depicts
injustice, violence, depravity, or other vices of the stdfisli (jratid
spigneur. No more striking condemnation than his can be found
of the undemocratic existence of the powerful lord whose chief
principle is that might makes right. But Lope is generally at
his best when he presents the Spanish people, the middle and
lower classes as they thought, spoke and acted. There can be no
doubt that his heart was with the great hourgcoisic in spite of
all his social intercourse and friendliness with aristocracy ; he
too would have voiced the sentiment so well expressed in La
Bruyere's words, "Faut-il opter, je suis peuple."

One of the most genuine notes in Lope is, therefore, his eham-
pioning of the democratic spirit of the Spani.sh jx'ople, mani-
fest especially in his pictures of the lower elas.ses. his coimtry
folk, his sane types of the bourgeois, together with the simplicity
of speech and the sound common sense with which the latter are
endowed. Very frequently we find a defence of the lowly, the

66 ni: i\i iTK Airi or i.ori-: />/•; )•/•;(;. i

poor, tlif uupi'ivili'f^fd jiihI (lisiiihtiitcd iiicmbiTs of a vci-y iin-
pcrft'c't form of socii-ty. Tliis docs not iicccssarily imply any
ini'isivt' I'riticism dirct'ti'd against conli'mporai-y conditions, i'or,
as .statrd altovc, Lopr was not ci-itical ol' his times, noi- was lie
l)\' naturr or {^ifts a satirist in any profound sense, lie also
I'liampioned a sanei- and if we may call it so, a freer position for
women, lie empliasi/ed a,u:ain and airiiin the necessity of ^'•I'aidinj;
them greater liherty of choice in determining tlieir own liappi-
nes.s in marriage oi- any other state, lie justified theii' opposi-
tion to distasteful unions and theii' desire to see and speak
freely with the men they ai'e to mari'y. We i-each this conclu-
sion chietly 1)\- inference from many scenes in his plays. Pei'-
haps the exaggerated libei-ties which some of his women char-
acters take, quite contrary to local custom, also imply a desire
on Lope's part to sei' a greater freedom foi- womankind realized.
In tliis connection we may add that nowhere is the honor code so
overemphasized as in the cases in which arbitrary fathers or
brothers keep a hawk-like vigilance over the actions of daughter
or sister lest she bring discredit on their honor and name. Tiiese
pictures frequently imply a criticism of the selfishness and arbi-
trary authority of the man and' a plea for a more reasonable
position for the woman.

DRAMATIC AET OF LOPE DK VFMA

07

LOPE'S LEARNING: THE LXFLUEXCK OF TMK CLASSICS

A prominent feature of Lope's languag.' is the eo.istantly
recurring reference to classical authors aii<l au.-i.-m th.-m.-s.
No element of his speech is as anti.piated as this, no note of his
dialogue finds as little response or awakens as little interest in
the modern readei-. It does not mend matters to be told that the
classics still formed a part of the daily routine thougiit in his
day, that the popularity of the ancients during the Renascence
represented a sympathy for antiquity of which we have no
conception. The sound of the Latin language, although with a
Spanish pronunciation, was familial- to num, woman and chihl
through sermon and ritual, and an occasional classical quotation
on the stage would not be taken for an absurd piece of i>edanti-y.
even if it passed over the heads of the listeners, in spit.- of
the unsurpassed originality of the literature and philosophy of
the Renascence, imitation of standard classics was not only
countenanced but considered good taste. In ,ili this the comediu
was no exception. But what a strange mixture this spirit of
imitation produced! It is fortunate indeed for our modern art
that these classic instances are no longer dragged in whether
they fit or not. This criticism is not altogether fair, to be sure,
if we judge literary tastes in the light of Lope's times. Hut
we are attempting to present all the reasons why the com (did.
notably the creation of Lope, has features wliich will survive
all changes of taste while certain others tend tf) rcducf it to the
level of a literary curiosity.

It is not my purpose to give more than the briefest outline of
the influence of the classics on Lope, as manifested in his plays.
The material available for such a purpose would fill many a
volume. But the character of his art will be better unch-rstood
if the reader has an idea of this manifestation in his language.

The great body of classical literature, whether prose or verse,
reached the Renascence public. of Spain tlirough the medium of

«8 ])ii.iMAH( tirr OF i.orr: dk t kga

traiislatioiis, populari/.c*! versions, or iiiidifjcstcd coiupilations
«>f Iraniint; of all kinds. Tlic lattci- stricture may sound loo
harsh until we wath' tlirou^di niiseellanies. jest hooks, ehissieal
eoninieiitaries. fiction, or |)hilosopiiie <iiscussions on the ancients,
whose utterances were now and then presented in a I'oi'ni liardly
recognizahh' hy the atithors. The same is ti'ue of dramas, lyric
Yorsc, chronicles and the rest, the authoi's of which seem impressed
with the necessity of wiiiniiiii: l>resti,i;e hy citing classical authors
when and wherever possihle. in the majority of cases, 1 here-
fore, the influence of the classics reduces itself to common-])laces.
()nly in the rari'r cases of such ])rofoundly learned men as
Quevodo. the most striking intellect of his time, we find a
thoroughly satisfactory actjuaintance with the classics. Lope
stands halfway between Quevedo and the popular, superficial
presentation of classical nmterial. lie is acquainted with every-
author of old, every type of ancient literature is known to him.
Of tile Greeks direct reference to Plato seems to me to be the most
common, and this must he due chiefly to the existence of neo-
platonic literature, to its interpreters, commentators, and imita-
tors who gave voice to its philosophy. Of the latter. Leon Hebreo
is mentioned most fi'equently by Lope, and his works occupy a
prominent j)lace in any consideration of tliis influence. They
contributed to Lope's comedia a peculiar metaphysical language
evident in discussions of love, beauty, desire and the like. Aris-
totle, too, is mentioned with reference to his Ethics, his treatise
on the soul and his work on animals. Among the historians
Herodotus occupies the first place, as far as I am aware, his
style of narrative, his fiction and folk-lore elements being more
appreciated than the writings of more scientific historians like
Thucydides. Of the Greek dramatists I have noticed only occa-
sional and unimportant reminiscences. The writers of later
ages were also known to Lope, especially Plutarch, whose Moralia
exerted an influence all through the Renascence not to be over-
stated. I am of the opinion that the influence of Plutarch's
Lives was not so great. To us it may be astounding that the
name of this writer should have carried with it such extra-

DBAMATIC JET OF LOI'K UK VEGA 09

ordinary weight; yet even so great a thinker as Montaigne is
full of Plutarch's animadversions, some of whieli liave the staiii]>
of the commonplace. But it must he remembered that the note-
worthy translations of Amyot in France and Diego Gracian in
Spain were much read books. Lope must have known the latter
well. Much more recent, but still belonging to Greek literature,
are the Byzantine romances, Theagcnes and Karikleia, Kliiophon
and Leukippe, and others which were known in Lope's day
through Spanish and Italian versions. They are responsibb' for a
few romantic or episodic features in the cmncdia.

By constantly uniting the names of Homer and Vergil, the
fusion of the influence exerted by the Iliad, the Odyssey and tlu;
Aeneid, became inevitable. It would be difficult to find a ]»romi-
nent character in any one of these epics who is not mentioned ])y
Lope. The stories of Ilium and Rome, the adventures of Uly.sses,
the tales of Helen and Dido, pathetic and semiscandalous, the
charms of Circe, the youthful beauty and valor of Aeliilles, tliese
and scores of other characters and episodes are mentioned again
and again. The chief Latin poets, too, are well known to Lope,
Ovid holding a very prominent place, followed by Horace,
Catullus, Juvenal, Martial and others. I spoke briefly of Ovid's
influence on Lope in my book on that Latin poet and the Rena-
scence. I need supplement what I said there merely by adding
that scores of Lope's plays show a very profound indebtedness
to the thoughts, episodes and amorous principles of the Meta-
morpjioses, the Ars Amatoria, the Bemcdia Amoris. and the
Hefoides.

The Latin poets proved a mine of information on the go<ls,
and demigods, the heroes and heroines of legend and mythology.
Venus and Adonis, Cupid and Psyche, Orpheus and Eurydice,
Jason and Medea, Perseus and Medusa, Pygmalion and Galatea,
the labors of Hercules and the stories connected with the Golden
Fleece, semihistorical heroes of Greek and Roman history, to
mention some instances disconnectedly and at random, these and
scores of others appear on Lope's pages again and again.

The numerous anecdotes connected with classical anti(|uity.

70 /'/.• (1/ 1 1 1< ii:i OF ion i>F I Kd.i

l)i()<rniplii«*!il tlftails of raiiious unii and llic like, were taken
I'liit'fly fi-()iu conipilat ions wliicli in llicir turn cxlraclcd Ihciii
from liistoi'ians and hio^raplifi's, sudi as Lix \ , 'racilus. Sni'loniiis
and otliiTs. ( )ii(' proMiinrnt work w hifli rnrnislird Lope with
innwnicralilc lilts of loi'c and nonsense concern int' nature and
the animal kiiif^dom was Pliny's Xahirdl llislnri/. Xo Itird or
lu'ast was too stranj^e oi- rai'e to liave its existence vouched for
l»y Pliny or his Kenasceiice conuiieiitators who lia\e won an
innnoi'tal place amonj:: "the spinsters and knitters in tlie sun."
or "las viejas (pu' dicen consejas tias el fue^-o." The matter
a\aiial>le for a study on the influence of Pliny alone would make
several \i\vgi' anil entei'taininfi: books.

Among Latin works of fiction tiic chief place is occupied by
the Golden Ass of Ajiulcins ; its novdistic incidents are full of
vivacity and originality and i)r()mpted imitation among drauui-
tists and novelists alike. Reference to medi<'al treatises, esi)e-
cially Galen, to books on natural plienoniena, superstitions and
the like, abound, but cannot be discussed now. How much of all
this was beyond the intelligence of the audience when recitetl
on the stage is difificult to detei-mine. Suffice it to say that ser-
vants, lackeys, rutifians and courtesans are not ignorant of tilings
classic, and that we must take for granted that all this material
was in the air and the common possession of all people.

References to biblical characters and episodes, above all the
Old Testament, are not uncommon, but by no means as frequent
as those just treated. Their presence in plays of a religious
character is natural, but a discussion of tliem falls without the
scope of this essay.

DRAMATIC ART OF LOl'E DE \ IKiA

LOPE'S ACQUAINTANCE WITH (ON'l'll.M I'ol.W I; V UTKHATI-RK

Among the meagre aiitobiogrjipliical d-'tiiils wliidi \a\\u- lias
given us in liis Dorotea a statement (•(nicrrniiitr his <'(lui'aliun. Iiis
reading and literary taste in general is of inici-cst. lie tin-re
tells us in the part of Don Fernando :

de la eilad que digo ya sabia yo la gramitiea, y no ij^uoraba la n-torica ;
descubii razouable ingenio, prontitud y docilidad para cualquiera cicneia;
pero para lo que mayor le tenia era para versos; de suerte que Ids carta-
paeios de las liciones me Servian de borradores para mis pensamicntos, y
muchas voces mas escribia en versos latinos o castellauos. Coinerice a
juntar libros de todas letras y lenguas; que despues de los priiu-ipios de la
griega y ejereicio grande de la latiiia, supe bicu la toscana, y de la fraii-
cesa tuve notieia.

This tells us three things in regard to Renaseence literatui'e:
that French was not unknown to Lope, that he was well ac-
quainted with Italian, and that he was ever occupied in reading
and writing Spanish verse. If we limit ourselves only to tiie evi-
dence of the comedia, this conclusion is everywhere corroboratfil.
Although Lope may have known something of the French lan-
guage, I find practically no evidence of any actiuaintance with
contemporary French literature. On the other hand, he must
have read Italian extensively, while every Spanish poet or col-
lection of Spanish verse must have been known to him.

With regard to Italian literature, the novdluri from lioc-
caccio on, including the extensive collections of the fifteenth and
sixteenth centuries, were familiar ground to Lope. Some of his
plots are not only directly traceable to Italian novdlr. but cer-
tain episodes of others betray all the marks of Italian inHuenee.
This is logical, if we recall that Spanish literature offered ])ut
little in this style of fiction, that in the Held of the short story
we have to deal with hardly more than third rate imitations of
Italian sources until we reach the novclas of Cervantes, which
strike the first independent note of importance. Italian litera-
ture of chivalry was also known to Lope, especially the .-i.ics

7-2 /'/; i.i/.i / /(■ .I/;/- (;/■■ lari-: nr: ] i:(;.t

of l?t)i;ir(l(), Ai-iosfo miuI Tjisso. wliilc Dante aiid INtraicli ai'i"
frt'<|iiciitly iiit'MlioMcil. or soiiic flioii^'lit of lluirs is icpcalfcl.
Anions the \hh'\s tlic iiitlunici' <»t' IN't fai'fli o\ crsliadows lliat of
all others, not only Itccausr of llic warm, li\ini: (lualilirs of liis
viTse, lull ht't-ausc his spiril had already been assiniilaled hy
so many Spanish poets hefoce jyope's day. All this deserves
an extensive. sei)arate sfndy in so far as it thi'ows li<,'lit not only
on the ijrowlh of Spanish lyric \ei-se, luil also on cei'lain poetic
elements of Lopes artistic forninla.

As rogrards Lope's extraordiimiy ae(inaintanee with Spanish
verse the fact that the hirjje body of Kenascenee lyrics had hecome
hone <d' his i)one and tlesh of his tiesli wonld he evident IVom his
works at every turn, even if we chose to limit oursi'lves to the
testimony of the comcdia. Again and again he speaks of tin;
chief poets, and a study of all the names mentioned wonld make
a comprehensive history of contemporaiy liteiature. As was
the case with Cervantes, Lope's great model seems to have been
Garcilaso, whose musical line and unerring good taste very
justly jilact'd him out of reach of any adverse criticism and made
him the model for the sixteenth and seventeenth centuries. It
would be futile to give most of the names w^hich Lope mentions
since his own fine tact and delicate touch made him appreciate
the best Avhich that astoundinfj:ly ])i-oductive period had to
offer.

In prose literature Lope was no less at home than in verse,
but the type which he mentions most frequently in the comedia
is the pastoral romance. His manner of referring to it leads me
to believe that he considered it the only other tyjie of literature
outside of verse production with artistic finish. And this is so.
The pastoral novel has paled after all these years, above all
its artificiality is evident to us, but the fact remains that it very
often reaches high poetic levels which rightly give it a place be-
side lyric A'erse. Of far greater importance is the Cdestina, and
Lope, who no less than the author of that unique work is a nuister
of dialogue and of the expression of passion, imitates it both con-
sciously and unconsciously in many scenes of his plays. Refer-

DEAMATIC ABT OF LOPE J)K VF.CA 73

eiices to the story of ("alisto and .Mclibi-a and to tlir threat lij;iuv
of Celestina herself are a common occurrence, wliih* similarities
in style, language and episodes can be pointed out with fr.--
quency. The indebtedness of Lope to any singh- cn-ation is
not very pronounced, but if tliei'e is an exception to this i-uh*,
it is the Celestina, whieh nuide a deep impression upon him as
well as upon all the writers of tlie Renascence. 1 Iiave else-
where treated the influence of this remarkable book upon Lope's
Dorotea and his el Cahallero.de Olmcdo, which are good examples
of how the spirit of the whole work manifested itself in tlie
comedia. As regards the Dorotea, I am inclined to see in that
strange play an extremely artificial fabric in whicii Oerarcbi, a
wonderful imitation of Celestina, is practically tlic only living
character, the others being too often spoiled by a display of
pedantry, academic dulness and bad art. The romances of
chivalry, contemporary chapbooks containing such novels as la
Doncella Teodor, besides novels of love and adventure, were
known to Lope, nor need I speak of the chronicles, lives of heroes
and saints from which he borrowed ideas and plots. Finally, the
late Menendez y Pelayo has on various occasions pointed out how-
unlimited is Lope's acquaintance with the great body of national
romances or ballads. If any further evidence were required to
prove that his memory was as prodigious as his inventive genius,
his acquaintance with the popular and traditional poetry of his
people would more than prove his case.

7» nii.i.M.ti ic Aur Oh' i.ori: in: \ fma

soMi: Tij iiMt Ai, Ki;.\'rrici;s or i.onrs .\iri': i:.\iM)si'ri().\,

I'M ITS. K'KcrivMn.NC TIIKMKS

liiasmiK'li MS Lo|>i'"s iiivt'iit i\(' ^-ciiiiis is cliMriicti'i-i/cd by t'i-cc-
(loiii iiiiil s|Miiitaii('ily. Ill' \\;is ;i1 his lifsl w liciic\cr llic plot Wiis
wholly his own iTcatioii. A iiicic suf^jxcst ion Wiis i'iioiifi:h lo ^ivc
him ail idea for a whole play. It is tlici-frorc clrar thai lie iimsl
liavi' hci'ii jiaiiipt'i'cd ill his const riicl ion, in ihr sc(|iicnci' of his
concept ion of scfiics and episodes, when he undertook to rcpio
(luce dramatically a ready-made story. In so vast a creation
as his itiinidid we are eiiahled to reach the jjood productions
only liy an elimination of the inferioi- ones, and, to me, his least
inspired plays are almost always based on borrowed plots. These
wtM-e, for the greater part, taken from fiction sources, chiefly
Italian, and, therefore, absorbed many e])isodic adventure ele-
ments which strike a false note on the stage. They represent
an artistic blunder, and spoil a certain portion of his work. It
would add but little to my argument to mention here the many
plays related to stories of Boccaccio, Bandello and others, but
the influence of Italian novclh thi-ows a certain light upon his
plot construction. In certain plays which may be characterized
as extravanganzas, or novels in dialogue, we may note that Loi)e
hesitates to localize them in Spain, for he gives the plot an
Italian background as if to make the spectator believe that the
events of his play are more likely to take place outside of the
Peninsula. I refer also to plays in Avhieh Lope made concessions
to improbable romantic themes, ill-suited to any stage, and
though these may have been acted in an amusing way, they add
nothing original or enduring to his artistic formula. Take, for
example, el Alcalde mayor in which the heroine's lover is im-
plicated in a murder plot ; she flees to Salamanca disguised as a
man, attains the degree of doctor after years of study, and being
considered worthy of higher honors she finally becomes "alcalde
mayor of Toledo." As such she again meets her lover and all

DBAMATIC AIIT OF LOVE DK VKdA 75

mysteries are cleared uj). Or takf S(rrir a S, rmr disinlo. in
which a tyrannical father favors an a^n-d suitor of iiis daughter.
The latter consequently throws herself inio llie anus of a
yonnger and more acceptable lover, iiut tlie youuf^ man, of
hnmhle fortune and station, sets out for ]\Iadi-id in order to
improve his position, Avhereupon daughter and father follow
him to the capital. In ^Madrid the young lover assumes the posi-
tion and fortune of a certain "Sefior discreto" whose service lie
had entered, and thus he is enabled to win the lady of his affee-
tions. In /o.s Emhustcs de Celaura tliece is an inartistic confusion
of themes taken from fiction and folklore, wliih: even la Viiida
valencknia, one of the most channing. sjiai'kling and poetic crea-
tions from Lope's pen, is marred by an occasional jarring note
due to concessions to these elements. It is also of interest to
observe that Lope, who did not fail to touch every conceivable
dramatic note, suggests the lines along which the subsetpient
drama of fate, which the Germans called the SchicksalsdrtiiiKi,
was conceived. In los Comrndadores dc C'ordoha the two crim-
inal lovers are warned of their impending fate by unexpected
occurrences, and in el Caballcro de Olmedo, one of the great
masterpieces of the siglo de oro, don Alonso is forewarned of his
tragic end in a profoundly impressive manner. On the whole
Lope's great comedies are those which deal with a simple theme,
handled with extraordinary lightness and grace, a tlieme which
plays flexibly and quickly with an idealized form of Spanish
society, while his best tragedies are based on subjects so intense
and so overwhelming that there is little room for the accessories
of unrelated novelistic material.

One of Lope's chief claims to being a complete master (.f his
art is' his exposition. In most of his inlays the opening coid«l
not be improved upon. But we realize that he wrote altogether
too much to carry this perfection to the end of every plot, and
no special critical acumen is necessary to note that some of his
plays betray a distinct falling off in the construction as they
proceed. Having conceived his formula with its dominating ele-
ment of rapidity of action, the great simi)lieity of almost every

7f. iu:.i.M.iric Mil or i.oi'E in-: \ eca

exposition is iionnally nunlilii'il as we move forward by tlic addi-
tion of subplot, sfcondary action or explanatory si'cncs, and
wlu'n the andicncc possesses all the factors necessary to under-
stand the story. Lope is nicreiy concerned with his forward
proi-i'ss, with weaving; in and out action, connler-aci ion, senti-
ments, cross-purposes, and impulses until he comes to tlie ht^ieal
end of his various thi-eads. or chooses arl)itrarily lo cut his skein.
The usual analysis of Lope's eharaeters fails to lay stress on the
fact that in rajujlity of action impulses must dominate over
reason and deliberation because the latter demand too many
ilclays to tit into his formula.

Another mi.staken procedure jiointed out above is that of
applying the principles of other national dramas to the comedia.
No other type of play in th(> world is so thoroughly an improvised
creation as that of Lope. As a highly endowed musician may sit
down at an instrument and compose without ]n-emeditation, so
Lope always had at his disposal, without any seeming etfort, all
the unusual gifts which natun- ha<l so generously bestowed on
him. It is, therefore, futile to look for deliberate processes,
mechanical construction or a conscious rearing of his artistic
edifice. Careful scrutiny of the majority of Lope's plays reveals
that he had no fixed conception of dramatic steps purely by acts
and scenes, and only a sense of forward movement, of progressive
exits and entrances, which carry the game through its successive
steps until an end satisfactory to the author is reached. In
many cases the solution could be attained earlier in the pla}', but
the fanciful creation of new impulses bridges every gap until
the improvisor sees fit to stop. Inasmuch as the dramatic
formula of Lope depends entirely upon a successful opening,
and thereafter upon rapidity of procedure, he was wont to
observe carefully what kind of exposition won his hearers, nor
did he hesitate to repeat such scenes if popular. A good example
of this repetition can be found in la discreta Enamorada (Act I,
scene i), and el Acero de Madrid (Act I, scene ii) ; in the former
mother and daughter enter followed by a young gallant, while in
the latter it is an aunt with her niece. The dialogues are very

DEAMATIC AST OF LOl'E DK \KGA ..

similar. A study of model expositions might also he ina(h' in
such plays as d Premio del bicn hablar, la Moza dr Cdntaro,
Quien ama no haga fieros, los Melindrcs de Belisn, d Dnminc
Lucas, not to mention scores of others like Fmnfi Onjuiui,
Peribdnez y el Comeudador de Ocana, and /ov Comrndadorts d<
Cordoba of tragic content.

As a consequence of all tliis we must l)e pn-parcil for recur-
ring themes not only at the opening of Lope 's plays, hut woven
into the bodies of the plots. Although this element of repetition
has been ascribed to popular applause, it was a logical result of
the superliuman amount which he produced. I have already
touched on some of his more common stage devices, sueli as tricks
M'hich enable the lovers to converse, the stumbling theme, acci-
dents upon the highway, disguises of all kinds, concealment, tlu*
entrance of a messenger who pretends to be a hawker or vendor
of ladies' articles, or books and the like, all of whicli generally
produce light and sparkling episodes. A character who enjoyed
great popularity, whether male or female, was the simpli'ton
{bobo and boba) either real or feigned, and by this I do not mean
the gracioso, but one of the leading characters. Examples are
la Dama boba, la Boba para los otros y discreta para s^i, el Bobo
del Colegio, and many others. Among the more serious themes
which recur is that of parental authority, or of that of uncle or
brother, involving questions of honor and morality. Altiioush
Lope frequently praises modesty, liumility and other domestie
traits in woman, he also advocated, if not always by direct propa-
ganda, a freer and saner social position for her. He presents
his plea, as I have stated above, more by making plain the abu.ses
to which the subservience of womankind may lead.

A highly dramatic theme is the protection of a nuirderer
by a relative of the murdered man who is ignorant of the nature
of the crime or not aware of the identity of victim and murderer.
Again, in other dramas, in which some criminal plot is afoot, the
personage who is an obstacle to the plotter must be removed, and
this object is achieved in an arbitrary manner by entrusting to
the former some distant military post, or some official occupation

7s i>i: i.M.iric .iirr or i.ori-: ni-: \ eca

wliii'li may taUc liiiii out of the way t'of a suni'-init spat-c of linic.
Tlu' fliiff tlu'iiic ol' this kind of jtlol is I lie base ilt'sirc of sonic
ont' Iii^li in aniliority to jxisscss tlif wife, lianccc or sister of
a vassal or ticpmdfnt, a tlicnic \fi\v old in li"lion, so that many
t'xamph's could Ix' citi'd. Amon^' tlicm is the w rll l<n(t\vn sloi-y
contained in .luan Manuel's Libra ih I'tit nni'm: " 1 )e lo (pie
eontescio a Saladin eon una hueiia iluefia, niiijer de un ealiallero
su vasallo. " Saladin wishes to seduce the wife of ;i vassal; he,
tju'rcd'orc. creates him nuijiitntl and sends him to distant lands,
but Ills evil scheme is frustrated by the wise eoiiduet of the wifi'.
The reader will also recall that in the sloi'y of Mavid, Uatlislieba
and I'riah we have a variant of the same theme.

We may summarize certain features of Lope's techuicpic as
follows: exits and entrances are treated more ai'bitrarily and
wliimsicall\' than would be |iei'iinssible in less spontaneous drama,
the characters moving rather with the motive force of Lo])e"s
fancy. His conception of time is so indefinite as to make us
believe that in the vast majority of his i)lays the question of a
limited number of hours, days or even months was entirely dis-
regarded. The audience was transported into an idealized world
not confined by the limits of the stage nor controlled by the usual
flight of time. In a number of plays Lope falls into the technical
error of leaving the stage empty various times during- an act.
Take for example, la Esclava dr su galdn, in which on twelve
separate occasions every person quits the stage leaving the plot
disconnected and so interfering with smooth action. Finally, as
regards the frequent interweaving of a subplot, this feature was
very often a necessary addition to the principal action, giving
more body to the main plot when it was thin and weak in con-
tent. It also furni.shed matrimouial material for the secondary
characters. Cervantes ridiculed this device of having everybody
married oK at the end of the play in his comedy la Entretenida.

Exaggeration in the heaping of tone and color effect is rare
in Lope, and consequently his great themes are seldom marred,
as in los Comcndadores de Cordoha where the spirit of vengeance
of the Veinticuatro consciously turns into a sanguinary chase,

DEAMATIC Airr OF ]J)1'K DE IKtlA 7:i

and the tragic close fails to maintain tlie soliMun gran<leur of
the rest. The apparent defects of Lope's formula are due to an
excessive number of combinations of recurring elements which
are entirely possible and acceptable, if 1lic iirobability of tht-
resulting picture be not too closely compared with actual luuiian
society. The technique, notably the structure of liOpe's cttmidin.
has frequentl}^ been compared with that of less inspii-ed hul moii-
carefnl writers like Alarcon or ^loreto to his disadvantag«'. Yet
nothing can take from his art the claim to a uni(jue ciiarm of
presentation unlimited in its variety, a sound mixture of youth
and maturity which never knew the touch of old age. a knowledge
of the depths of human experiences without overemphasizing
their M^eight on the soul, a comprehensiveness of poetic expres-
sion which makes every attempt at comparison futile and every
effort of analysis unsatisfactory.

80 /'AM.1/.I7 /<• .tin or i.orr: i>e ii.c.i

DIAHXilK. MoNol.ocri:. AM) \ A UK' AT I \K

No task st'i'ins iiioiv liopolcss at the outset than a discussion
of Lope's (Halojjur, so astounding; is its variety, so vast its range
ill tone, color, fecliufi^. speecli and situation. No critical i)resen-
tation can cnd)raec more than a |)art of Ills work, nor can a
limited innid)er of examples hope to jjive mocc than a l)are sug-
grstion of all the forms of emotion, thought and experience for
which Lope has found expression. Any specimen taken out of
its content cannot give the full measure of the eiTect intended, a
thing especially so in tiie case of comedy. But the examples
which I have chosen may sutfice to show his masterly touch. The
number of his genuinely comic scenes cannot be counted, and no
better reason could b(> alleged for giving unstinted praise to his
miraculous inventive power than the hundreds of plays with
which he unceasingly amused the Spanish public.

In his tragedies Lope has shown a remarkable gift of impress-
ing the audience by the sudden and unexpected tragic turns in
the career of hero or heroine. This is the case where light
dialogue is followed by an event entirely changing the face of
things. Thus in l<i Moza dc cdntaro the heroine is discussing
with her maid the (pialities of her many suitors when her aged
father enters, and tells her of a mortal affront intiicted upon him,
the result of whieli alters her whole career.

Luisa. Don Diego esta confiado;

joyas te ha heeho faniosas.
Dona Maria. ^ Joyas f

Luisa. Y galas costosas;

hasta coche te ha comprado.
Dona Maria. Don Diego de noche y coche.

Luisa. jDe noche un gran caballero!

Dona Maria. Mas jay Dios! que no le quiero

para don Diego de noche.

Otra le goce, Luisa,

no yo. jDe noche visiones!
Luisa. Oigo unas tristes razones.

BRAMATIC JUT OF LOl'K de ]E<iA 81

Doha Maria. Volviose t-ii llaiito la risa.

^No es este mi padre?
Ltiisa. ^1 pj^

(Don Bernardo, dc hdbHo de Santiago, con m/i
lienzo en los ojos. Dichan.)
Don Bernardo. jAy de mi!
Dona Maria. Seiior, ^que es esto ?

Vos llorando y deseompuesto,

iy yo no estoy a esos pies!

^Que teneis, padre y sefior,

mi solo y linico bien?
Don Bernardo. Verguenza de que me ven

venir vivo y sin honor.
Doha Maria. ^Como sin honor?

Don Bernardo. Xo se.

Dejame, por Dios, Maria.
Doha Maria. Siendo vos vida en la mia,

^Como dejaros podre?

^Habeis acaso caido?

Que los anos muchos son.
Don Bernardo. Cayo toda la opinion

y nobleza que he tenido.

No es de los hombres llorar;

pero lloro un hi jo mio

que esta en Flandes, de quien fio

que me supiera vengar.

Siendo hombre, llorar me agrada;

porque los viejos, Maria,

somos niiios desde el dia

que nos quitamos la espada.
Doha Maria. Sin color, y el alma en ealnia,

OS oigo, padre y senor;

mas I que mucho sin color,

si ya me teneis sin alma ?

^Que habia de hacer mi hermano?

^De quien os ha de vengar?

In cl CabaUcro d< Olmedo extraordinary naturalness, vivacity
and wit runriing through more than two acts inake as delightful
comedy as Lope ever penned, the whole giving place suddenly to
a brief and tragic close. The happy days of Don Alonso's court-
ship are gradually filled with a foreboding of his untimely end
and few effects which Lope has devised are artistically more
successful; he is returning home at night aftci- the ci-ownim,' «l;iy
of his career :

DL-.iM.iiii .\i:i OF i.orr: />/■; i i:i;.i

lion AUiiiMt. . . . iC^iK' I'siuritliiil ! Tmlo I's

Imiror, linstn i|iii' ol iiurora

I'll liis :ilt'()iiil)ras tie Flora

|i(Miy;a los lUirados jiios.

Alii «:iiitaii. j'C^iiitMi si'n'i .'

Mas sim;'i al;^un lahrailor,

i|ii)> cainiiia a sii lalior.

LcJds i>aioi'(' (jiu' t'sta;

|>oro ai'i'icaiiilo so va.

I'lios ji'onio! Lli'va instninnMito,

y no OS liistico ol acontd,

si MO sonoio y siiavo.

iQiio iiial la ini'isioa sabo,

si esta triste el pensamiento!
Una Vo:. {Diiitro.) {Caiitn ticsdf Icjos y rinir (iccm'inilosc.)

Que ill iiorln ir iiKiliiniii

al caballcro,

III I ml 11 (Ir Mil I inn,

la flor de Olmedo.
Don Aloitso. ;l"iolos! j Que estoy escucliainlo .'

8i OS que avisos vuestros son,

ya (lue estoy eu la oeasion,

pie que me estais informando?

Volver atras ^eomo puedo?

]nveiK'i<ju de Fabia es,

que quiere, a ruego de Ines,

hacer que no vaya a Ohuedo.
La ]'o:. (Dc)itro.) Sombras le avisaron

que no saliese,

y le aconsejaron

que no se fuese

el eaballero,

ia gala de Medina,

la flor de Olmedo.

********

Don Alonso. iQ"^ "^^ soinl)ras finge el inicdo!

j Que de enganos imagina !
Oye, escucha. ^Donde fue,
que apenas sus pasos siento?
jAh, labrador! Oye, aguarda.
Aguarda, responde el eco.
jMuerto yo! Pero es caiifion
que por algiin hombre hicieroii
de Olmedo, y los de Medina
eu este eamino han muorto.
A la mitad del estoy:
ique han de decir si me vuolvo?

DBAMATIC ART OF LOPK DK \ega

83

Geute viciie. ... No me posa.
Si alia van, ire c-on ellos.

{Don Hodriyo, Don Fernando, Mindo, Cruido^.)
Don Eodrigo. iQuieuva?

Bon Alonso. Un homhn-. ; \„ „„. v.-u ?

Don Fernando. Deteiigase.

Don Alonso. Caballeros,

si acaso necesidatl
los fuerza a paaos eonio estos,
(lesde aqui a nii tasa hay poco:
uo habie nienester dineros;
que de dia y en la ealle
se los doy a cuantos veo
que me haeen honra on pcdirlos.
Don Rodrigo. Quitese las armas liiego.

Yo vengo a matar, no vengo
a desafios; que entonces
te matara cuerjio a cuerpo.
(a Mendo.)
Tirale.

(Dispara Mendo.)
Don Alonso. Traidores sois;

pero sin armas de fuego
no pudierades matarme.
jJesiis! (Cae.)
Don Fernando. Bien lo has hecho, Mendo.

(Vanse don Eodrigo. don Fernando ij su gei.t( .)
Don Alonso. jQue poeo eredito di

a los avisos del cielo!
Valor propio me ha euganailo,
y muerto erividias y eelos.
jAy de mi! ^Que hare en un cainpo
tan solo?
(Tello entra.)
Tello. Pena me dieron

estos hombres que a caballo
van haeia Medina huyemlo.
Si a don Alonso habian visto,
pregunte; no respondieron.
Mala sefial. Voy temblando.
Don Alonso. jDios mio, pie<lad, yo nuiero!

Vos sabeis que fue mi amor
dirigido a casamionto.
jAy, Ines!
Tello. T)e lastimosas

quejas siento tristes ecos.
Hacia aquella parte suenan.

84 l>l:.{.\l.tl l( MiT OF I.Ol'H /'/•; I /■(.'.I

Ni» ostJi <lt'l i'niiiiiio Ifjos
(|uieii Ins ilit. No mo lia ijiidhKlo
sailer*'. I'ienso (|ut' I'l somlutMo
piuMlo tonorso en el aiii'
solo oil cuaiiiuu'ia ( aiiollo.
jAli. hi(ialt,'o!

/'oil ,(/0/IA'0. j(^llit'll 08?

TiUo. jAv, Dios!

j'l'or (|iit'' iliiild lo (|iH' \-0() ?

Ks mi sofior. ;I)oii Aloiiso!
Ihtit Alonso. Soas biou vonido, Toilo.

TiUo. iVomo, Sofior, si ho tanlaiio?

t C'oiiio, si a mirarte llofjo

lioolio un pillage do sangre?

Traidores, villanos, i)erro-i,

volved, volved a matarme,

])ues hab^is, infames, muerto

el mas noble, el mAs valiento,

el mas galan oaballero

que cifu) espada en Castilla.
Don Alonso. Tello, Tello, ya no es tiempo

niiis que de tratar del alma.

Ponme en tu caballo presto,

y llevame a ver mis padres.
Ttllo. jQue buenas nuevas les Uevo

de las fiestas de Medina!

^Que dirji aquel noljle viejo?

;Que hara tu niadre y tu patria?

jA'enganza, piadosos cielos!

(Llevase a don Alonso.)

Fiu'iite Ovejuna presents the vigor of an nntutored, demo-
cratic community standing out for its rights against the vicious
overlord, and we have side by side with rustic dialogue deeply
impressive tragic passages of which the following may serve as
an example. The peasants sitting in council against the scoundrel
who has ruined their lives are moved to action by a woman's
appeal :

Begidor. Ya, todo el arbol de paciencia roto,
eorre la nave de temor perdida.
La hija quitan con tan gran fiereza
a un hombre honrado, de quien es regida
la patria en que vivis, y en la eabeza

DEAMATIC ART OF LOVE l>h ll-CA

»r.

la vara (luiehraii tan iiijiistaiiuMite.

; Que eselavo se trato coii mas bajoza .'
Juan Jiojo. ^Que es lo que quieres tii que el pueblo intontef
Eccjidor. Morir, o dar la niuerte a los tiranos,

pues somos iiiuchos, y ello-i poca ^f'te.
Barrildo. j Contra el seiior las armaa en las nianos!
Esteban. El Rey solo es sefior desjiuos ilel cielo,

y no barbaros honibros inhuinanos.

Si Dios ayuda nuestro justo ceio,

^que nos ha de costar?
Mengo. Mirad, sefiores,

que vais en estas cosas con recelo.

Puesto que por los simples labradores

estoy aqui, que mas injurias pasan,

mas cuerdo represento sus temores.
Juan Hojo. Si nuestras desventuras se compasan,

para perder las vidas, ^que aguardamos?

Las casas y las vinas nos abrasan:

tiranos son; a la venganza vamos.

{Laurencia, desmelenada. Dichos.)
Laurcncia. Dejadme entrar, que bien puedo,

en consejo de los hombres;

que bien puede una mujer,

si no a dar voto, a dar voces.

I Conoeeisnie?
Estchan. ; Santo cielo!

I No es mi hija ?
Juan Sojo. ;Xo conoces

a Laurencia?
Laurencia. Vengo tal,

que mi diferencia os pone

en contingencia quien soy.
Esteban. jHijanua!
Laurencia. No me noinbres

tu hija.
Esteban. il'ov que, mis ojos ?

^I'or que?
Laurencia. l^or muchas razones,

y seau las principales,
porque dejas que me roben
tiranos sin que me vengues,
traidores sin que me cobres.

^Vosotros sois hondires nobles?
^Vosotros padres y deudos?
^Vosotros, que no se os romjien
las entranas de dolor,

80 ni: iMAiK .u:i of lorr: or. \ iaia

di> vi'rmo on tiintos i|olt)ros /
(.)vi'J!is sois, liioii lo <lic<>
<!<> Fiu'iitt' ()\'«\iiiii;i I'l iioinliic.
l>!i<lino mills iiniiiis :i mi,
lnu's sdis |ii<'ili:is, piit's sois liroiiccs.
• •••••••«*

Los Conu Ufhulon s (h Cordoba rt'pri'sciits. ;is \';\v .is I know.
the cxtn'Mit' to wliicli Loj)!' has j^oiu' in fi:iviii^f llic whole pliiy
JIM aliiiosplicrc ot" Lrldoiii, wilhoiit at taiiiiiiL;' the trairi"' "li'pth ami
dignity cillu'r of the i'orc^oiiifif phiy or of that niaslci'work, hi
Hsfnllti (h S(rill(i. No lone in this mars the rxrpiisitc pi'cscnta-
tion of the chai-acti'i' of liic heroine, ami when we see her ovei'-
whelnietl l>y a course of trairie events whieli take ]»la<'e iiievilahly
one after the othe)-. we feel justified in clainiiiif^ that no tinei-
exanii)le of a fearful peripeteia exists on any staj^e. Esti-ella
is in tlie midst of her wedding pre])arati()ns, when without wai-n-
in«r tile fatefiU hour is upon her:

(Said (II ftusa dc Buslo. Kslrclhi 1/ 'I'lodora.)
Esirdla. No se si me vesti bieii,

eonio nie vesti de prisa.
~ Si i Dame, Teodora, ese psj)cjo.
Tiodoni. Verte, Senora, en ti iiiisiua

puedes, porque no hay cristal

que tantas verdades diga,

ni de herniosuia tan graude

haga verdadera cifra.
EstreUa. Alterado teugo el rostro

J la color encendida. '

Teodora. Es, Senora, que la sangre

se ha asomado a las mejillas

entre temor y vergiienza,

solo a celebrar tus diclias.
Estrella. Ya me parece que llega,

el rostro bauado de risa,

mi esposo a darme la mano

entre mil tiernas caricias.

Ya me parece que dice,

mil ternezas j que oidas

sale el alma por los ojos,

disimulaudo las niiias.

(Ay venturoso dia!

Esta ha sido, Teodora, estrella mia.

DBA MA TIC AllT OF l.oi'K jjjr iKGA

87

Teodora.

Estrella.
Teodora.

EstreUa.

Chi rill do.

EftU-ella.

Clarindo.

EstreUa.

Teodora.
Clarindo.

E.^trella.

Estrella.
Bon Pedro.

Parece. que geiite sueiia.

Cayo el espejo. De envidia {ahale),

el cristal, dentro la hoja,

de una luna hizo infinitas.

I Quebrose ?

Sefiora, si.
Bien hizo, porque iinagina
que aguardo el cristal, Teodora,
en que mis ojos se miran.
Y pues tal espejo aguardo,
quiebrese el espejo, aiuiga;
que no quiero que con el,
este de espejo me sirva.
(Clarindo, muy fjahhi. — Dicha.i.)
Ya aquesto suena, Sefiora,
a gusto y volateria;
que las plumas del sombrero
los easamientos publican.
A mi dueno di el papel,
y diome aquesta sortija
en albricias.

Pues yo quiero
feriarte aquestas albricias.
Damela y toma por ella
este diamante.

Partida
esta por medio la piedra:
sera de melaucolia;
que los jacintos padecen
de ese mal aunque le quitan.
Partida por medio esta.
No importa que este partida;
que es bien que las piedras sientan
mis contentos y alegrias.
jAy, venturoso dia!
Esta, amigos, ha sido estrella mial
Gran tropel suena en los patios.
Y ya la escalera arriba
parece que sube gente.
;, Que valor hay que resista
al placer?
(Los dos Alcaldes mayores, con i/nilc ijitr Irnr rl cadarrr

de Busto. — Dichos.)
Pero . . . ^que es esto?
Los desastres y desdichas
se hicieron para los hombres;
que es mar de llanto esta vida.

ss iu:.iM iiK iirr or i.ovi: />/•; iKdA

Kl Si'fior Hnsto 'r;ilMM;i

t'S llllUMtO.

Estrtlla. ;Sii('rti' «'nciiiij;:i!

Pini /'((/ro. 101 fonsiiolo (|ii(> ii(|iii os (|iu>il:i

OS (|in< ostf'i «•! licro luiniiciilii,

Sniu'lio Ortiz <l«' las l{ot«liis,

prt'so, y (lol so lian'i Justicia

inafiana sin faltn. . . .
K\li<llii. Dojailino, jjonto iMU'mi;;a;

t|in' OM vuostrna loiiguas traois

lie los iiifioriios las iras.

; M i lu'iiiiano os imiorto, y Ic lia iiuiorto

iSaiiclio Ortiz! i Hay (juioii lo iliga .'

; Hay ijuioii lo osciicho y no niiiora ?

rieilra soy, \mes ostoy viva.

jAy riguroso ilia!

ftsta, aniijjos, ha siilo ostrolla niia.

Pcro si hay jjiedad huniana,

niatadnie.
Don Pedro. FA ilolor la jiriva,

y con razi')n.
EstrfUd. j Desdichada

ha sido la ostrella niia!

jMi herniano es nuierto, y le lia niuerto

Sancho Ortiz! jEl quien divida

tres almas de un corazon! . . .

Dejadme que estoy perdida.
Don Pedro. Ella esta desesperada.
Farfaii. ;Tiifeliz boldail!

Don Pedro. Segiiidla. '"

Clarindo. Senora . . .
E.strella. Dejaiiie, inj^jrato,

sangre de aquel fratricida.

Y pues acabo eon todo,

quiero acabar con la vida.

jAy riguroso dia!

fista ha sido, Teoilora, estrella niia.

Satisfactory selections from his comedies are, as I have stated,
extremely difficult to make, but a survey of their variety may be
attempted. At the opening of cl Ausoitc en el Lugar we have a
delightful scene which repeats the characteristic gossip of ser-
vants who meet on the street ; in los Melindres de Belisa we have
the whimsicality and capricious action of a young daughter who
finds nothing to her liking, who ridicules her suitors, finds fault

DEAMATIC AL'T OF iJil'i: DE VEC.A h;»

witli all her surroundings ami niakcs life iinhciiralilc for thosr
nearest to her. La Noche de San Juan is an rxamplr of Lope's
ability to paint laughter, gaiety and confusion, in wliidi tin*
spectator follows a whirl of amusing, loosrly coniH'cttMl sei-m's.
For wit and clever jcu de mots conibint'd with a<liiiii-al)ly comic
episodes la Viiida valotciaiia and cl Molino are noteworthy ex-
amples. Plays so uniformly good in their exposition must have
held the attention of the public from the very outset, and Lope
no doubt consciously put some of his most graceful ver.se, his
finest wit and humor into the opening scenes. As it was also his
purpose to cai)ture the good will and enduring i)atronagc of tlit-
multitude, a large number of the expositions arc fillcfl with amus-
ing dialogues designed to appeal to the i)eop]c. In i^nii n it ma
no kaga fieros we have the following conversation between master
and servant :

Gaston. . . .

^Has alguna vez tenido

(lama con cunado.'
Don FcJix. No.

Gaston. jDichoso tu! porque yo

(lesdichadisinio he sido

en materia de cuiiados.
Don Felix. Amor es siempre importuno,

y querria que ninguno

se metiese en sus cuidados.

Todo estorba a los que quieren:

padres, hermanos, sobrinos,

hasta vecinos.
Gaston. ^Vecinos?

Esos sou los que refieren

toda una historia de amor;

que, no atendiendo a su casa,

ven lo que en las otras pasa.
Don Felix. Eso es general error.
Gaston. No se aCostara un vecino

hasta ver al otro entrar,

si alH se pensase helar.
Don Felix. De cualquier desgracia es dino.
Gaston. Yo conozco una mu.jer,

adonde un galan hablal)a,

que toda la noche estaba

a una ventana, por ver

90 i)i:.iM.tiic .\i;i OF i.ori-: ni: \ kca

\ i>or I'sfUilmr li>s ti)<iut's;

V iililimMi' «l»'si'tnn|t»u>stn,

a trnor una l>all«'sta

y liisparallc lioilotiiu's.

Mas cUa, con la lla(|nr/a

do osiucliar, o la ]iiirf'ia,

catla iioclu' sc jiunia

nil i-altloro on la caboza,

con »|uo ol palAn (jno lo lira ha

liacia tanto riiiilo.

quo (iosportaha al niariilo,

y a la sofiora llanialia.
7)())i FcU.r. Yo, por vor ca/a tan iinova,

con nroabuz la tirara.
Ctiiston. tQiit' iniporta? Taniliicn Imscara

alfinn inorrion a ]>ruol)a.

I'l libi'u'K : If (I CitDK iidailor ih Ocaun otlVi's an cxainplc of Lopt'"s
rare gift of putting into facile verse a domestic dialogue in which
Inisliaiid and wife demonstrate tlieir niutual ()l)li^Mlions and
necessary (lualifications l)y means of tlie alphabet :

Ctisihlii. ; C^iie ha ilo tonor jiaia hncna

una niujer.'
Peribdnez. Oyo.

CasiJda. Bi.

Peribdnez. Aniar y honrar su niaii<lo

es letra deste abeee,

siendo buena por la B,

que es todo el bien que te jiido.

Harate cuerda la C,

la D dulce, y entendida

la E, y la F en la ^^da

firnie, fuerte y de gran fe.

La G grave, y, para honrada,

la H, que con la I

te hara ilustre, si de ti

queda mi casa ilustrada.

Limpia seras por la L,

y por la M, maestra

de tus hijos, cual lo muestra

quien de sus vicios se duele.

La N te ensena un no

a solicitudes locas:

que este no, que aprenden poeas,

esta en la N y la O.

DRAMATIC AUr OF Lol'E in-: VEGA

La P te hara poiisativa,

la Q bien quista, la R

con tal razon, que (Ipstiene

toda loeura excesiva.

Solicita te ha de hacer

de mi regalo la S,

la T tal que no ])u<liese

hallarse mejor niujer.

La V te hara verdadera,

la X buena cristiana,

letra que en la vida humaua

has de aprender la primera.

Por la Z has de guardarte

de ser zelosa; que es cosa

que nuestra paz amorosa

puede, Casilda, quitarte.

Aprende este canto llano;

que con aquesta cartilla,

tu seras flor de la villa,

y yo el mas noble villano.
Casikla. Estudiare, por servirte,

las letras de ese abece;

pero dime si podre

otro, mi Pedro, decirte,

si no es acaso licencia.
Perihdnez. Antes yo me huelgo. Di;

que quiero aprender de ti.
Casilda. Pues escucha y ten paciencia.
La primera letra es A,
que altanero no has de ser;
por la B no me has de hacer
burla ])ara siempre ya.
La C te hara compaiiero
en mis trabajos; la D
dadivoso por la fee
con que regalarte espero.
La F de facil trato,
la G galan para mi,
la H honesto y la T
sin pensamiento de ingrato.
Por la L liberal
y por la M el mejor
marido que tuvo amor,
porque es el mayor caudal.
Por la N no seras
neeio, que es fuerte castigo;
por la O solo conmigo

91

92

i)L\t.\i.tiic iirr or i.orr: ni-: ieca

toilits Ins liitrns tiMidrns.

I'or 111 r ni«> lins <!»' hiict'r ohras

<l«> imiiri"; ]ior(|uo i|ni>r('nn»»

l)or la Q, st>ni jioiumiiio

v\\ la nhli^ai-ion que ««iliriis.

I'or la H lojjalariiu'

y por la S si'iviirno,

por la T toiuMto firinc,

|>or la \' vcnlad trataiiiic;

l>or la X COM ai>ii'rtos

liiazoH iiiiitaria asi (.Ihrduih) ,

y I'oiiio estaiiios aqui,

estoinos (losj>uos do iiuuMtos.

The pleasing (Icsci-iplioii of Pi'i'ilj.'incz's hoino-ooiniii<; has alrca'ly
bciMi q\iott'd al)ovi'. A comic rcvci'sal of fortune may ))c found
in 1(1 Esclovd (1( si( (jnhht. in wliicli we have a deli^'htful i)ii'tufe
of the suthh'ii coUapse of the son's position in his father's i^ood
graces. Don Juan ai'ouses the hitter's rage by confessing that
lie is engaged to l)e mai-ried to a poor ])ut virtuous girl ; the
father slams the (h)or in tlie son's face and oi'ders that his cloth-
ing and books be thrown out of the window. Don Juan ami his
servant are left in the street stunned and disconcerted.

Pedro. iQi'^ corca estas de llorar!

Von Juan. ]'ues ;de esc, Pedro, te espautas?

Aver un coche y criados,

casa, hacienda, padre y galas,

y hoy ;cerratlas ostas puertas!

Then follows the comic anguish of the two, as the son's posses-
sions come flying through the window.

Pedro.

Don Juan.
Pedro.

Don Juan.

Pedro.
Don Juan.

Ya arrojaii i)or las ventanas
tus vestidos.

i Bravo eiiojo!
Anda la mar alteraila,
y alijeran el navio.
Voy a buscar mi sotana.
(Ay Dios! jsi se han de perder
de dona Elena las cartas
y una cinta de cabellos!
iQue joyasi

Jovas del alma.

BE AM. MIC AllT OF LOP/- DK VKdA j,;.

Pedro. Cierto que liay almas bulioneras,

pues andan siempre carjja.las

(le ciutas y ilc papeles.
Don Juan. jAy, mi Elena!
P('^>'o- jAy, mi sotana!

Don Juan. jAy, papeles!
Pedro. iAy, fjregiieseos!

Don Juan. jAy, mis ciiitas!
Pc^'''^- ;Ay, mi carnal

Don Juan. Quieii supiere que es amor,

apruebe mis esperanzas;

quien uo, diga que estoy loco,

pues quedo con sola el alma.

Indelicacy is, as 1 have asserted above, exceedingly lai-i- in Lop.-,
and such a conversation as that carried on between the Countess
and the escudero Uurango in Uik Finns dr dmi .ludu (;ict II.
scene xviii), during which he narrates a coarse anecdote, would
have to be curtailed on the stage of today. It may be explained,
however, in view of the fact that throughout Europe society of
the Renascence indulged in topics of conversation not comilc-
nanced today because we have become more reserved and also
less naive and less natural. On the other hand, broad humor
and farcical play intended for the masses are faii-ly common in
the comedies and even in the tragedies. La Xochr tolnlatm
offers an excellent specimen. Florencio anil ids servant are
attempting to escape from an inn over a neighboring housetop,
in order to get awa.v from the police whom they iiiuigiue in
pursuit; the scene must have delighted the populace.

(Fista dc Tejados: Florencio ij Bel f ran.)
Florencio. I Haste hecho mal ?

Beltrdn. No tengo Inieso saiio.

Florencio. ^ Adonde estaiuos .'

Beltrdn. ^ Pue<lo yo sabcllo?

J Hay mapas de tejados en el niundo?

4Ha.y carta que seiiale rumbo o linoa

de chimeneas ni de caballetes?

^Hay Tolomeo ni otro algiin cosmngrafo

que trate de azoteas?
Florencio. K«ta casa

me parece meson.

94

i)i:.t.\i.iTic .i/;y of imi'k />/•; vkua

lUUnin. V I'sit' >*>"' tlii'lii;

imitiiio lt> son las ilcsfn aciMii todas
(lfS(l(> la Comt'ix'iun al raiiiicii.

Flortiu'io. «'ii'o

«|iu' 08 ji;il(iin:ii' :i<iiM'stc o j^alliiicro.

lititnin. Yo i)iiMiso (|ii(' I'li al;,niii tf.jjuld lii'stos

hay alpuna colmt'tia.

Flonncio. V no do altojas,

sino lie alt'vt's z.'mjianos o avisjias,
«|in' la rara, las jiii'inas y las nianos
nil* tiiMit'n lioclias ciiha.

fhUrdn. •■:" l:"^ narircs

ino ha ilailo tin avis])c'in iin jiicdta/.o,
i|ni' nil' ha licclio flct'a lit f, vivc el ciclo.

Flonncio. i^t estaromos inojor con las yallinas.'

Jidtrdii. l>alas al ilial>lo; jioniuo entralia aju'iias,

cviando ceno conmifjo el sofior fi;allo,
creypndo que robarle (juise alguna,
y nie ha sacailo iin ojo con el jiico.

Flonncio. ; Estoy inuy sucio?

BcUnin. ' Estas como iiii ostieicol

Florcncio. tQ"^ ^^ aquello iniinero (lomlc cntrainos.'

BcUran. Una pocilga. donde he sacado

tal oantidad de jmlgas (|U0 estoy nuierto.

Florcncio. Eseapar de aquel ])erro fue iiiilafjro.

Beltrdn. Yo, a lo nienos, no fui tan ventiiioso.

Florcncio. i Mordiote ?

Beltrdn. Traigo menos lilira y media

de carne desta izquierda pantonilla.

Florcncio. Morderte perro es seda sobre seda.

Beltrdn. No quiso respetar al parentesco;

que perro soy, aunque parezco hidalgo.

Florcncio. ; Cruel noche por Dios!

Beltrdn. Si yo creyera

al buen humor que tengo escarnieiitara
de enamorarme.

Florcncio. Amor 4 que culpa tiene?

Beltrdn. Amores en Toledo son niuy buenos,

si son de dia, pero no de noche;
que hay cuestas espantosas y ladrillos,
hombres del diablo, avispas, perros, pulgas,
tejados, gallineros y alguaciles.

Voces. (Dcntro.) Ladrones son! jLadrones!

Beltrdn. Esto es bueno.

Florcncio. jOh, pesia tal! la casa se alborota.

Una Voz. (Dcntro.) Dame aquese arcabuz, suelta ese perro.

DRAMATIC ART OF LOI'K DE lECA «).-,

BeUrdn. Por mi lo difo; ya me sahc el iioinl.rc;

conocido nos han.

Florencio. Por aqui al.ajo,

en la caballcriza nos entrcmos,
y en saliendo alm'iii Iniospeil nos in-mos. (I'aimc)

In my opinion, one of the eoiiiic mastfrpicccs worthy id i;iiik
with the best of any stage may be found in Ja Dorotca (act II,
scene vi). It is a drinking scene in which Gerarda, an (jld
woman of the Celestina tj^pe and one of Lope's great en-atious,
is seated at table with Teodora and the hitter's daughter Donil.a.
Here her relative indifferenee to food is more than count. m-
balanced by her fondness for the cup, and we are told that lier
favorite philosopher is not Plutarcli, ])ut tlic more famous wine,
Alaejos. Since it is futile to analyze all the features of this
scene, I have preferred to let the following extract sjieak for
me. The reader will note the spontaneous hmnor, the rielincss
in popular phrases, tlie many details of a domestic f^chu iiiliim.
the light which some of the customs depicted throw on coiitcm-
porary manners, and, above all, the art of the great dramatist
who has laid bare the soul of the old woman Gerarda, by leading
her in the most subtle manner out of hci- first condition of witty
sobriety, through all the subsequent stages of garrulous self-
confession, of heavy-tongued but amusing nonsense to the inevit-
able stupor of intoxication. Tliis scene, as well as otliers in whi<'li
Gerarda appears, is not only the best portion of la Donit^a, but
shows Lope as a master of psychological analysis worthy of his
famous prototype, the comedia dc Calisto y Mdihca, the fountain
of his inspiration.

Teodora. No tanta friita, Dorotea, (|ue estiis niuy convalecieiito. Dcja

las uvas.
Dorotea. iQue me han de haeer.' Que ya estoy huoiia.
Teodora. Toma estos higos, Gerarda.
Gerarda. Por ti tomare uno, que no lo liiiiera por el padre «|U.' im-

engendro; pero es menester que sepas (|ue <-on un liigo sf

bebe tres veces.
Teodora. | Quion lo eseribe?
Gerarda. El filosofo Alaejos: n^^n^a^tP •I"*' ^'"'^ Plutan-o? Abroie por

medio. . . . Dame, Celia, la iirimera.

96

lULtM.iiK Mil Oh' i.ori: />/■; /7;(;.i

Tioilora. ^Siii «-(>inorl«' lifln's.'

(irranla. Aj^orii li* »»clio iiii |>nct> ilc sjil. I>:inn' l:i sc;iim(la.

Tt'odoro. Ya tiouos las ilos a|>iirto; H\\io liariis !iy;(>ra ?

(ierardti. I'orrar t'l liijjo. Diiiiu' l:i tt'r<<M:i.

Cclia. Hol»o y l>iii'ii pnivoclM); ikmo iiiira i\\\o iv. CiHMtc.

Cirniilii. Mas fiu>rto ora SaiisiMi, y Ic xciu ici el amor-. ;Hi(Mi liaya (iiiit'ii

to rrio!

Ttoiloro. ( Kl liijjio oclias |ior la voiitaiia, ilfsinu's ilc taiitas proxt'iuioiu's .'

litrnnla. I'ut's ,'(''1 lial>ia dc ciitrar aca ? No so vora on oso yozo.

(;fT<ir</fl.

(V/m (J/'.)

(icrtmlii.

T cod ora.

Gerarda.

Celia.

Gernrda.

Tcodora.

Gerarda.

Celia.
Gerarda.

Teodora.
Dorotea.
Teodora.

Dorotea.
Teodora.
Celia.

Tu iiio a^railas, (iorarcla, i\\\c lialilas y tomos.

Esc iiifu) iiio alaha, i|iio coiiio y iiiaiiia.

Otro rofiaiicito. |<-^iio coloraila osta la inailiol raicco ma-
tlrono y la iiariz zaiialioria.

l^uaii'lo yo 1110 aouordo ilo mi Niiflo Koilrijj;iio/. a la iiiosa. . . .
;Quo ileoia ^1 <lo oosas! iQuo ^racias! iC^uo ciioiitosl Dol
ajiroiitli las oracioiios que so. Kva iin licndito, no lii/.o on
su villa Dial a iiii pato; (jiio riiaiiiio lo sacaroii a la voi-
giieiiza fuo ])or sor tan lioMilir<> ilo liion, (|no mmca (|uiso
ileeir quion liahia toinado los plates dol canoniyo. Ahora
pareoe que lo veo ])or esa ealle Mayor; [que cara Uevaba
en aquel ])oIlino! No dijeraii sino que iha a casarse. Y
ooiiio el tenia tan linda liaiba, agraciabale nnicho el desen-
failo con que ])i('aba aquolla bestia lorda. Y^a le docia yo
que no saliera sin acicates.

Gerarda, no bebas mas; que dices desatinos, y en otra parte
peusaran que era verdad lo que dices. jPara que lloras?

Porque fue crueldad llevarle a galeras.

Y'a lo enmienda.

Dios manda que se digan las verdailos.

No en llano del projimo.

iQue daiio es contar sus alabanzas, Teodora, ni rofrescar la
memoria del bien que se ha perdido?

A lo menos refrescar lo bien que se ha bobido.

La primera vez que me hallo en aquella nineria del estudinte,
fue notable su paciencia. Era invierno, y eehonos a mi y
a el un jarro de agua en la cama, diciendo con aquella
bondad tie que el se preciaba nnudio: "A los bollacos
mojallos. ' '

i No adviertes, Dorotea, la condicion del vino?

Fiale tus secretos; que esa es la primera de sus faltas.

;0h infame vicio, tan opuosto a la hoiira coiiio aborreoido de
la templanza!

Cuanto vino entra, tantos secretos salen.

Desde que le pisaron, por huir de los pies, se sube a la cabeza.

I Para que me haces senas, tia?

DRAMATIC Airr OF U)I>K />/, / /,7;.f

5)7

Gerarda.

Celia.
Gerarda.

Celia.
Gerarda.
Celia.
Gerarda.

Tcodora.
Gerarda.

Celia.
Gerarda.

^Para que lue lo itroKuntas, iiocia .' idiAiito va ,^ur nu- Irvanto,
pues no ine entiendes?

Ha caido uii mosquito.

No hayais niiedo que se descalalne; no le saquos*, Celia, quo
son los espiritus deste licor, coino los atonios del aire; el
vino los engendra y a nadie le pare-ieron sus hijoH feo«.
Y euando dieres vino a tu sefior, no le niires al sol.

Que quiera, que no quiera, el asno ha do ir a la feria.

Pesa presto, Maria, cuarteron por media libra.

No cabe mas la taza, que no es saca de lana.

La leche de los viejos es el vino: no s4 si lo diee Cicerun o el
obispo de Mondonedo. jAy mi buon Nuflo Rodriffue/.I

A la tenia vuelve.

En su vida reparo en mos(|uito, todo euanto venia colaba, que
era una bendicion. Llaniaba grosera al agua, i)or(|ue eriaba
ranas; una ile las cosas eon que me vencio ]»ara que no la
bebiese, euando me case con el, fue decirme que habian de
cantar en el estomago; y pusome tanto miedo, que desde
entonces, sea Dios bendito, no la he probado. Pues ya,
para lo que me queda, con su ayuila bien sabre .salir deste
peligro.

Mira que se duernie, tia.

Vieneme el mal que me suele venir; que despues de harto me
suelo dormir.

Gerarda. Cuando dan por los aladares, canas son, que no lunares. I»,iiii.'
sin que lo vean.

Celia. Nueve veces has bebido.

Gerarda. Escuderos de Hernan Daza, nueve debajo de una manta.

Celia. No la habras nienester esta noche.

Gerarda. No tiene mas frio nadie que la ropa que trae.

Teodora. Mira, Gerarda, que te hara mal, y que Celia y la negra se
estan riendo, y con ser tu amiga Dorotica, no te la perdona.

Gerarda. Cuando el guardian juega a los naipes, ^que haran los frailes?

Teodora. Quitale esas aceitunas, negra.

Gerarda. Bien puede; que una hora habra que estoy con el hueso de una,
pidiendo una consolacion.

Teodora. Alza esta mesa, y dale, nifia, un ])Oco <lesa grajea a Gerarda.

Gerarda. Grajea a Guinea: reventado sea mi cuerpo, si en ^1 entrare.
No se hallara en todo mi linaje persona que haya comido
dulee; en mi vida fui a bautismo, por no ver el mazapAn
y los almendrones, cuando voy por las calles, me voy arri-
mando a las tabernas y huyendo de las confiterias, y en
viendo un hombre que come cascos <le naranja, le miro si
tiene los ojos azules. ^Pues pasas? nialdito sea el coraz/in
que las paso ni al sol ni a la lejia.

Celia. Ande aca, tia; que no esta para firmar.

9s /'/.'.(.W.I/ /(• .I/;/ or i.oi'H /'/■: i iia.i

litniitla. Si loiiiu tioiio Diojas, tiivit'io lioca, n iihicIkis lliiiiiiiia la piidta.

Ceha. ("on lnu'iias oracitiiios si« »l/.a la iiu'sa.

(itrtirtiii. No qiiito los manti'lcs; ilarr ;;tai'ias, piics ('ciir' la liciKlici.ni.

Tfotlorii. l)i; voainos.

(f'cnin/d. (.^ii(i<l lialxMiius coiniilo, ili> l>()iniiuis l><iinini sea licncilit o, y

a iiiii'os _v a vobis miaca faltotur, y ayoia (licaimiM ol

saiitilicotiir.
Ihtnittd. No s«* h> juu'ilo iio^nr (juo tiiMio jTrncia, y yo coiidzco iinii-lins

]iroMuniiilo8 ilo cieiu-ias (|iit' salx'ii inciKts latin.
(itnirih.i. l)os|iin''s do coiiht sit'iiiiirc t<'n;r() y<i mis (Icsocioncs. Ll<''\ ainc

al oratorio, Colia.
Ccliii. Tin, inojor os la cania. No to carjjuos taiito, ((uo j)osas iiiikIki.

Gvrtirtlii. La jmorta posada, juiosta on ol ((uicio no ]iosa naila.
Cfliii. Toi)asto fon la silla. I'or ai;'i, tia.

Tcoihtrti. iQiio }ioli)0 i|UO so ha daijol Lloxala coi: tionto, i^jnoiaiitc.
Celiti. i^J"<^' ticnto, si no lo tiono? {I'diisc.)

I must adil a l)rirt' woi'd on itiouolo^nic and iiarratixc. The
t'oi'nici" is a t-onnnoii device or feature of Lope's formula, and I
lia»l oeeasiou to speak of it in the notes appended to la Dama
boba. In so far as the soliloipiy was intended solely to reveal the
inner self of the person speaking it must be logically ehai-acter-
ized by directness, sincerity and simplicity. These qualities, how-
ever, are easily marred by artificial speech, while the success of
the play whose keynote is rapidity of action may be jeopardized
if an}i:hing hampers its forward motion. It must be said to
Lope's credit that he recognized the soundness of this principle
far more than did any of his successors, and that his monologues,
while not always free from the artifice of conccptismo and culio,
are generally well timed and in keeping with the i)lof. The
conclusion which imposes itself upon the reader, however, is that
tile soliloquy is artistically far more satisfactory in serious scenes
and in tragedy than in comedy for the reason stated in my notes
to la Dama hoba. namely, that the former normally contains more
moments of refiection and self-analysis. Pure comedy, accord-
ing to Lope's formula, is based, as I tried to show, on impulse
rather than deliberation.

The chief poetic forms used in the monologue are the sonnet,
the glosa. used by Lope with great variety and flexibility, the
rcdoudilla and quint ilia, the octava and the romance. As far

DRAMATIC ABT OF LOPE I)K VEGA 99

as I am aware, pi-aetically all of liis solilo(iiiics aiv l)ri('f. No
monologue of the length of those foiuul in Sliakcspcaiv. ( 'oi'inMllr.
Schiller, Victor Hugo and others has come to my not ice in Lope.
The purpose of the monologue in liis comidia, when it lias no
serious, introspective character, is one of the following: it ci-catcs
a pause between the exit of one personage and the entrance of
another without leaving the stage empty; it may give a person
whose approach is imminent time to arrive; it may permit one or
luore persons to leave the stage for a bi-icf time to accomplisli an
act or deed necessary to the plot (such as the fetching of a dcsirecl
object, the bringing in of another person, the hindrance of some-
thing about to happen, etc.) ; it may serve especially, and in this
I include the aparte uttered with others on the stage, to express
all the emotions of surprise, anguish, joy, and the like. In the
latter case it is thoroughly justifiable as an artistic device.

The narrative, varying in length, is a device justified oidy by
its rhetorical qualities and because of the opportunities it gave
certain types of actors and actresses to show their declamatory
talent. But it can hardly be defended otherwise, as it lacks the
dramatic character of action, and is open to many abuses. AVliil.-
it reminds one of the messenger's si)eech in Greek tragedy, there
is no reason for believing that the nai-rative in the cumcdia was
in any sense influenced by it. As regards its use by Lope, it is
one of the elements of his formula in which he made concessions
more and more to a growing vogue. Without wishing to gener-
alize too much, I venture to state that lengthy narratives are
more common in his latest plays, while his eai-ly and middle
period show greater artistic i-estraint. and an effoi't to kec^p the
narrative within proper bounds. We cannot, howevei-, take our
stand upon absolutely solid ground in this conclusion, because
the vast majority of texts which have come down to us are based
on badly mutilated prompters' copies. Wherever I have been
able to make any comparison with an original it was noticeable
tliat the narrative poi'tions had been cut an 1 modified. Those
examples which we possess must therefoi-e almost always In-
considered shorter than the poet's own version.

100 nh'AM.tih Mil or lAiri: in-: i i:<i.\

Tli«' luirrHtiv*' sj'rvrs various piii'poscs. jniou^j lliciii lliat of
making: tin- ainliciuM' aiMHiaiiitcd with tlif history of the iianator,
or of soiiii- one of tile chai'aclrrs of the phiy ; it is a dcxicc to
fomu'i't past events with the present, and it sei'M's in ^'emi-al
t ■» make known what has iiap|)ened hehind the sta^'e. While
the narrative was naturally intended for liiose persons not yet
acMpiaintid witli its eontent. there are eases in wliieh it reheai'ses
what tlie audience already knows. This const itules an inartistic
hlunder. in so far as it is a hindrance to the action and makes
the i>uMie yawn. Lope's successors retained tlie narratixe, hut
increased the chd'ects wldcii in the <;i'eat master were still in-
olTensive. 'Phey introduced a greater nund)er of luii'ratives in
a sinfi:le pla\' and not infi-e(|uent ly made a single one .scvci'al
hundi'ed verses in leii^'th, thereby eont rihut in<; efVectnally to
the artificial elements which caused the final decadence of the
innti(li<i as a work of art.

DRAMATIC ART OF LOPE BE VEGA 101

CHAEACTERS AND CUSTOMS

The fabric of Lope's formula, so intricately woven witli its
mixed elements of fancy and reality, cannot be adeqnately an-
alyzed and discussed in all of its details in a sliort space: of
that I am aware. But the serious student may be able, by con-
tinual labor carried on in a sympathetic spirit, to master tlie
seemingly overwhelming material of Lope's creation. His work
is not characterized by a specific manner or method. The great
improvisor was a tool in the grasp of an inventive, a creative
impulse over which the conscious reasoning processes had little
control. His dramatic technique, such as it is, leaves the im-
pression of having been acquired by a hit-or-miss process; it
was constantly modified, we may presume, not in the midst of
a creative mood, but after the author had seen his work as a
whole upon the stage and viewed it objectivel.y for the first time.
It must have been in those moments of quiescent reflection that
Lope reached out beyond the limits of his artistic formula to
that of actual human life; to those moments we undoubtedly
owe that continual broadening of the scope of his art, the mas-
terly delineation of various living types of men and women. an<l
the abiding results embodied in vivid pictures of contemporary
customs. This particular phase of his creation reveals the height
to which his dramatic genius could attain.

One of Lope's most enduring inspirations was the type of
man or woman cast in a heroic mould. His conception of great
and virtuous women has been a model for otlier playwrights,
and the history of the stage offers no loftier scenes than those
in which are depicted the moral courage, the fearless self-sacrifice,
the purity of heart, the unswerving devotion of such women as
Estrella {la Estrella de Sevilla), dona Maria {la Moza dc Cdn-
taro), doiia Sol {la Corona merecida), Dorotea {la Nina de
Plata), Elena {la Llave de la honra), Elvira {el mejor Alcalde
el Rey), Casilda {Peribdnez y el Comendador de Ocana), Lau-

lou' ni:.\\i.iii< lA'/ OF i.ori: dh i kca

rt'iu-ia [Fiiiiitt Oiu jitiia), ami otlifis. It is worthy of note also
that thf list I'oiitaiiis womcii of hiiiiil)h' as well as rxaltrtl station.
A salt isfat'toi'v iircsciitatioii of all thcsr fliai'aclfi-s, who (lrsri-\c
to he hcttiT known to the I'l'ailcr, cannot lie nndtitakrn licrc ;

tlu'ir fart' tldinfat ion has alr-ratly 1 n pointed out hy occasional

writtTs wlH»st' sinctTt' adniii'at ion had been ai'ouscd liy Lope's
plays of LTood women, ll w ill snt'liee to aild llial llicy rank aiiioni;'
his f^reatest ci'eations. that the nnnsnal spii'itnal dignity and
nobility of these hei'oines may he felt throni,dion1 the entire |)lot,
ennohlin^'' all those who come into contact with them.

Amonir his prominent types of men. the lii'st |)la('e is dne 1o
tho.si' stei'linfjf old charaetei's who ineai'iiatc the solid (pialitics
of rufjfied peasant sinii)li(*ity. honoi', and loyalty to inherited
standards of livini;, who, as enemies of sham and iinio\a1 ion,
embody the niieofiaipted ancient Spanish \iitnes. Thei-e is no
more iiispii'injj: feadin<; in all Sj)anish lilei'idni'e than the senti-
ments of these hiwh-minded eliai'aetei's, and the fad that they
constantly found a response in the pnblie is a hi^h trihnte to
the people of the Peninsula. An admirable example of this type
is Tello el viejo, in los Tdlos de McHcsrs, a rustic of the moun-
tains of Leon, whom Lope places in the t'luvi of Ordono 1 with
the apparent intention of making the contrast l)etween the man-
ners anil morals of his own day and those of an idealized old
Spain very clear to his audience. The following passage gives
in a nutshell the author's conception of Tello, his native dignity
and high personal character; it is also an example of Lope's rare
gift of presenting the choicest spirit of Horace modified by the
(lualities of Luis de Leon.

Tello el viejo. jCuan bienaventuiailo

pueile llainarse el hombre

que con eseuro nombre

vive en su casa, honrado

de su familia, atenta

a lo que mas le agrada y le contenta!

Sus deseos no busr-an

las corte3 de los reyes,

adonde tantas leyes

la ley primera ofuscan,

DL'AMATIC AI:T OF LOPE DE VEGA

y por el iiuevo traje

la simple antigiieda.l jia-lcce ultraje.

No obliga poca lenta

al costoso vestido,

que al uso eonoeido

la novedad inventa,

y eon pocos desvelos

conserva la igualdad de sus abuelos.

No ve la loea dama

que por vestirse de oio,

se desnuda el decoro

de su opinion y fama,

y hasta que el aieo ronipa,

la cuerda estira de la vana ponipa.

Yo salgo con la aurora

por estos verdes prados,

aun antes de pisados

del bianco pie de Flora,

quebraudo algunos hielos

tal vez de los cuajados arroyuelos.

Miro con el cuidado

que salen mis pastores;

los ganados rhayores

ir retozando al prado,

y humildes a sus leyes,

a los barbechos conducir los bueyes.

Aqui las yeguas blancas

entre las rubias reses,

las ernes de Meneses

impresas en las ancas,

relinchan por los potros,

viendolos retozar unos con otros.

Vuelvo, y al mediodia

la comida abundante

no me pone arrogante;

que no pienso que es mia,

porque niirando al cielo

el dueno adoro con humilde celo.

Todos los anos miro

la limosna que he dado

y lo que me ha quedado,

y diciendo suspiro,

viendo lo que se aunienta:

"Siempre me alcanza Dios en esta cuenta. "

Voy a ver por la tarde,

ya cuando el sol se humilla,

por esta verde orilla,

103

UH iu:.i.\i.iri(' .urr or utvi: nr: j kca

«'l osnialtii'lo iiliinlo

tU' tnntiis arholi'ilns,

lofos jinvoiios dp sii« Nt'nics nit'iliis;

y, coiiio on cllos ojos,

frutns out re sus hojns,

bliiiicas, ])Ali(ln8, rojn.s,

<lrl vfraiio ih'sj)oj()s,

y (Ml siis raiiias siiavos

cancioiios ciiltas coiiipoiu'r las av»>s.

t'liainlo la norho baja,

y al olaro sol se atrcvo,

ctMia iiie aguanla hrovo,

do la salud ventaja;

i\\n\ amique con inonos supfio,

iiias alentado se Icvaiita p1 diipfio.

Do todo lo que digo

le doy gracias al cielo,

que fertiliza el suelo,

tan liberal coniuigo;

liorque quien no agradcce

la (louda al cielo, ni aun vivir niorcce.

In Juan Labrailor, tl VUJano <n su riticnu. wv liavc anollicr
i'xani]>]i' of tlic peasant, single-minded, self-sufificient, loyal to
eluireh and state, but fixed in his abhorrence of court and cour-
tiers. Lope has placed the scene in France, but in spite of this
the customs depicted are all those of Spain. Juan Labrador
hopes to die without seeing the king, not because of any disdain
for the latter but because of liis modesty, and the consciousness
of the abyss which separates monarch and vassal. The king may
be served without gazing upon liim. This the latter finds out
and, disguising himself, he visits the peasant in his retreat.
There he is profoundly impressed by his host's splendid virtues
and convinced of his loyalty to the crown. The play offers a
striking contrast between the point of view of the two men witli
the advantage frankly on the side of the man of humble station.
Some of the scenes which unfold before the spectator resemble
genre paintings, so carefully worked out are they in their details.
The best ones depict first the hospitality of the peasant Juan
Labrador, the routine of his daily life, his habits being minutely
drawn ; the author then presents in amusing fashion the old

DRAMATIC AET OF LOPE DK VEGA 105

man's enforced visit to the king, wlio tries to vie with his guest
in generosity and courtesy. These are among tht' finest things
in all the Spanish camedia, and furnish many surprising items
for a study of the manners and customs of the Spanish people.
Only the chief scene can be quoted here, and as it is impossible
to give only a part without marring it I shall reprint it entire.
Juan Labrador is entertaining the king, wliom he takes for a
mere courtier from Paris.

{El Bey y Juan Labrador.)
Juan. Tomad esa silla, os ruego.

Eey. Sentaos vos; que tiempo hay luego.

Juan. (Que cortesano de fama!

Sentaos; que en mi casa estoy,

y no me habeis de mandar;

yo si que os mando sentar,

que en ella esta silla os doy.

Y advertid que habeis de haeer,

mientras en mi casa estais,

lo que os mandare.
Bey. Mostrajs

un hidalgo proceder.
Juan. Hidalgo no; que me precio

de villano en mi rincon;

pero en el sera razon

que no me tengais por necio.
Bey. Si a Paris vais algiin dia,

buen amigo, os doy palabia

que el alma y la puerta os abia

en amor y hacienda mia,

por veros tan liberal.
Juan. iA Paris!

Sey, Pues ique decis?

J No ireis tal vez a Paris

a ver la casa real?

Mai mi gusto persuadis.
Juan. jYo a Paris!

Bey. ^No puede ser?

Bey. De ningiin modo, por Dios.

Si alia OS he de ver a vos,

en mi vida os pienso ver.
Bey. Pues ^que os enfada de alia?

Juan. No haber salido de aqui

desde el dia en que naei,

V que aqui mi hacienda estti.

lort nii'AM.ti K .(/.•/ or i.oi'K in: i k<;.i

Itns ciiiniis tiMi^o, una en oisa,

y otra «'i> la ifjh'sia: t'"<tas son

I'll villa y imu'rtf el riiicon

iloniio una y otra s(* pasa.
A'f .1/. Soj;un oso. I'll vuostra viila

(lobi'is lie lialuT visto al Rev.
Jimii. Nailio lia j^uaiilailo sii It y,

iii OS lit' aljjuno ol>oil('iiiia

(•OHIO lU'l (iiu' ostais niiraiiilo;

poro on mi vida Ic \ i.
lii jl. Puos yo so (pio por aqui

jiasa mil \ I'cos razaiulo.
Jttmi. Toilas osas iiif ho osroii.liiio

por no \oi' ol mas lioiiraiio

ilo los lionihros on cuiiiaclo,

que nunca le cubre olvido.

Yo tenjjo on este rincon

no s^ que do rev tamhi^n;

mas duernio y como m.'is liioii.
Uti). Pienso que teneis ra/.oii.

Jiinii. Soy miis rico, lo primero,

porque de tiempo lo soy;

que solo si quiero estoy,

y acompafiado si quiero.

Soy rev de mi voluntad,

no me la ocupan uegooios,

y ser muy rico de ocios

OS sunia felicidad.
Eey. (Ap.) jOh filosofo villano!

mucho m^s te envidio agoia.
Juaii. Yo nie levanto a la aurora,

si me da gusto, en verano,

y a niisa a la iglesia voy,

donde me la dice el cura;

y auiique no me la procura,

cierta limosna le doy,

con que comen aquel dia

los pobres deste lugar.

Yuelvome luego a almorzar.
Hey. (Que almorzais?

Juan. Es nineria.

Dos torreznillos asados,

y aun en medio algiin pichon,

y tal vez viene un capon.

Si hay hijos ya levantados,

trato de mi grangeria

hasta las once; despues

DRAMATIC Airr OF LOVE DK VECA 107

coniemos juntos los ties.
Bey. Conozeo la euvidia iiiia.

Juan. Aqui sale alguu pavillo

que se crio de migajas

(le la mesa, entre las jiajas

de ese corral como un grillo.
Bey. A la fortuna los pone

quien de esa manera vive.
Juan. Tras aquesto se apercibe

(el Rey, Sefior, me perdone)

una olla, que no puede

comella con mas sazon;

que en esto nuestro rincon

a su gran palacio excede.
Bey. ^Que tiene?

Juan. Vaca y carnoro

y una gallina.
Bey. Y ^no mas?

Juan. De un pernil (por(|ue jamas

dejan de sacar primero

esto) verdura y chorizo,

lo sazonado os alabo.

En fin, de comer acabo

de alguna caja que hizo

mi hija, y conforme al tiempo,

fruta, buen queso y olivas. .

No hay ceremonias altivas,

truhanes ni pasatiempo,

sino algun nino que alegra

con sus gracias naturales;

que las que hay en hombres tales

son como gracias de suegra.

Este escojo en el lugar,

y cuando grandc, le doy,

conforme informado estoy,

para que vaya a estudiar,

o siga su inclinacion

de oficial o cortesano.
Bey. (Ap.) No he visto mejor villano

para estarse en su rincon.
Juan. Despues que cae la siesta,

tomo una yegua que al viento

vencera por su elemento,

dos perros y una ballesta;

y dando vuelta a mis vifias,

trigos, huertas y heredades
(porque estas son mis ciudados),

108 ni:i\i trie \i;i or ion- /)/■ i /v; i

loni) V iiiiito oil .siis lampinas

nil juir (io liobros, y a vocos

(los jtonlit'os: otras voy

n un rio on tpio dioatro estoy,

y traijjo faniosoa pooca.

Couo i)Oco, y aiisf a vos

poi'O OS dan'' do loiiar,

coiiqiio 1110 voy a acostur

duiido mil giacias a Dios.
Enj. Kiividia os piiodo toin>r

ooii una vida tan alta ;

mas solo os hallo uiiii t'.ilt;!

en ol sentido del vor.

Los ojos jno han de mirar.'

fNo ae hicieron para oso .'
Juan. Que no Ics niego, os oonfioso,

oosa <iue los jiueda dar.
Eey. iQiiL' importa? j,Cual liormosuia

puodo a una cortc igualaisef

^En que mapa puode hallarse

mas variedad de pintura ?

Rey tieuen los animalos,

y obedeeen al leon;

las aves, porque es razon,

a las aguilaa caudales.

Las abejas tienen rev,

y el cordero sus vasallos,

los ninos rey de los gallos;

que uo tener rey ni ley

es de alarbes inhumanos.
Juan. Nadie como yo le adora,

ni desde su casa ahora

besa sus pies y sus manos

con mayor veneracion.
Bey. Sin verle, no puede ser

que se pueda echar de ver.
Juan. Yo soy rey de mi rincon;

pero si el Rey me pidiera

estos hijos y esta casa,

haced cuenta que se pasa

adonde el Rey estuviera.

Pruebe el Rey mi voluntad,

y vera que tiene en mi;

que bien se yo que naci

para servirle.
Bey. En verdad,

si necesidad tuviese,

DRAMATIC AET OF LOPE DE VEGA lOy

iprestareisle algiia diiiero?
Juan. Cuanto tengo, aunque priinero

tres mil afrentas me hiciese;

que del Sefior soberauo

es todo lo que tenemos,

porque a uuestro Key debemos

la defensa de su mano.

El nos guarda y tiene en paz.
Mey. Pues jpor que dais en no ver

a quien noble os puede hacer?
Juan. No soy de su bien capaz,

ni pienso yo que en mi vida

puede haber felicidad

como es esta soledad.

Scattered through Lope's comedias may be found other ad-
mirable examples, taken from among the common people, of this
fine sense of honor and loyalty, of respect for high personal traits.
In las Florcs de don Juan the Countess, secretly in love ^vith
don Juan, who, though poor is the soul of honor, amuses herself
at his expense by letting him buy for her articles of value far
above his means. But she takes the merchant Laurencio aside
and, telling him the truth of the situation, offers herself to ])ay
for everything and to give him a diamond as surety.

(Laurencio, con unos papeles atados.)
Laurencio. Aqui viene todo, y bueno,

si ha venido de Milan.
Condensa. Oid.
Laurencio. Decid.

Condesa. (Ap. a Laurencio.) A don Juan

que esta de vergiienza lleno,

no pidais nada; que yo

soy mejor que habeis pensado.

Por probarle me he burlado.

iSabeis de piedras?
Laurencio. Pues iiwl

Condensa. Guardad aqueste diamante;

que yo os enviare el dinero.
iMurencio. Ni vuestro diamante quiero

ni otra prenda semejante;

que mas estimo servir

a un hombre como don Juan

que cuanto vale Milan;

y si volveis a pedir.

110 im.wiMU Mil OF i.ori: nr: i i:<;.i

111 casii lo lio do fill)',
Jos hijos y In imijt'r;
«|iu' 111 virtinl lin <!»' sor
riiiiu'zn on ruiil(Hii»'r lujjar.
,^ Unv cosii lit' iiiMS cstinia
(|iio vor osto calcilliTo
jiistar, o con el aicro,
iMi el tornoo, on la os^rinia ?
V on Ids acto-i inilitaros,
oiiaiiilo on la jila/.a st> von,
,' liav oosa ((no no liajja l)i«'n !
(Iraoias tiono sinfjnlaros.
Mai ho hooho on alahallo;
(|no OS ofico ilo torcoro.

Ill |)i't'vi()us cliiiptcrs oilier rare types created hy Lope have
been touched upon. Amoiii,' tlieiii ai'e iiioiiarclis and nol)leiiicii,
both good and base, whose delineation involves Lope's conception
of righteousness among men and justice for society; soldiers who
combine valor and boasting and introduce features of comedy ;
llie nabob who returns to Madrid to become the cynosure of all
eyes, antl tliereafter the victim of money-seeking swindlers or
courtesans: tlie young gallant portrayed with ceaseless vaj'iety.
endowed with many virtues well summed uj) in the following
lines which refer to one of the characters of rl Molina:

es un honibre tan bien heoho,
que algunas voces sospecho
que es persona principal.
Buen rostro, gran cortesia,
gran musico de vihuela. . . .
jPues danzar! como en escuola.
Todo para envidia niia.
Tira la barra una legua,
que no hay senal que no borre,
y si alguna yegua corre,
parece viento la yegua.
Tiene fuerza como un toro,
ligereza como cabra,
y graeia que no hay jtalabra
que no parezca de ore.

DRAMATIC AUT OF LOPE I)E VEOA 111

Or ho has every kind of vice and defect, as, for exampl.'. lli.-
typical Undo so well described in la Viiifla vaUiuiniKi. Tli.-
passage has already been quoted. Then we find Lopes licictin.-
or ingenue no less diversified than the youthful galhinl or lovi-r.
and showing an astounding insight into woman's soul. An at-
tractive portrait gallery could be formed of all the servants and
lackeys, among whom are finely individualized iy|Ms. .M;iiiy
other personages could be added, but 1 will mention oidy the
caricature or figuron whom Lope presented now and then to
ridicule the many foibles and weaknesses of us all. He has given
us a resume himself of those charactei's which had siTved as
models.

Fisberto. Es aquel hombre de aquellos

que se llanian en la corte

figuras.
Paula. De hablar acorte:

^, en que le parece dellos?
Fisberto. Todo hombre cuya persona

tiene alguna garatusa,

o cara que no se usa,

o habla que no se en ton a;

todo hombre cuyo vestido

es flojo o amuneeado,

todo espetado o mirlado,

todo efetero o fruncido;

todo mal cuello o cintura,

todo criminal bigote,

toda bestia que anda al trote,

es en la corte figura.

— EI Ansente en el lufjar. 11, viii.

In stating above wherein Lope's artistic formula did not
always reflect the actual world about him, I tried to nuike clear
that he constantly modified it by mingling fact with fiction, by
copying contemporary manners, and thus approaching more
nearly the formula of human life. Therefore, by carefully glean-
ing innumerable details here and there from his comcdia. the
student of Spanish culture may put together an unsurpassed
picture of Spanish life during the siglo de oro. Street scenes
and glimpses of domestic life furnish ami)le material, while lh''

iiL^ DKAMATir .11; I or i.di-i: in- 1 nc.i

fustoius wliifli colli i-olird tlic i-i'lat ions hrl wffii iiitii ;iiiil iiicii, or
nu'M aiul wonu'ii, could lie iidmirably ilhist rated. Lopr was loo
firi'at a realist to let the facts of life escape him, aiul we may
thus sunder the more artiticial features of his creation IVom the
genuine. The readei- will tind his own etfoi't to appreciate the
rial Lope amply i-epaid ; lie will liud in him that rarest of i"are
comhiuatious. the inspired poet and the unconscious chronicler
of his times.

DRAMATIC A FT OF LOPE DK VEGA 113

TWO EXAMPLES OF LOPE'S COMEDIA: A TRACF.DV AND A

COMEDY

It is evident to any open-minded ei-itie that so laif^c a miiiib.r
of good plays as Lope has written might easily make some readers
prefer this play or tl)at wliicli othci-s would set aside for a very
different choice ; it is also a vain task in so short a space to give
long lists of my preferences with the reasons therefor. But if
we keep in view the chief elements of Lope's formula it is pos-
sible to pick out a number of plays wliich contain them in theiv
most perfect form ; that these may betray the defects of liis
creation as well as his great qualities is to be expected. To
illustrate them here, let me select one tragedy and one comedy,
Fuente Ovejuna and el Ausente en el Lugar.

No better example of Lope 's courage in attacking overwhelm-
ing themes can be found than Fuente Ovejuna. It is the hi.story
of a village subjected to every conceivable base act of injustice
on the part of its overlord, a comendador of one of the great
military orders. From the moment the curtain rises we are
under the spell of the sinister authority which dominates the
whole play to the very end, a crude, primitive and mighty force,
brutal and repelling, but wholly in keeping with the object which
Lope had set himself. This was none other than to depict a
primitive culture as exemplified by a naive, tolerant, unculti-
vated people in conflict with the injustice, animal passion and
base impulses of a powerful individual. Lope's art never ex-
pressed itself in broader or bigger strokes. The prevailing theme,
tliat might makes riglit, reaches so much farther, its meaning is
made so much deeper than is evident from the character drawing
of the brutish comendador, that the reader may deduce there-
from a veritable political philosophy. The whole play is a plea
for liberty, for the rights of a community and its individuals,
coupled with a fierce arraignment of inherited privileges used
for selfish and wicked ends. Teclmically tlie play moves Avith

114 DUA.MMIC AUl or l.Ol'E HE lEC, A

(Xtraoi-tlimiry nipidity from scciif to scciu'. ;it limes loo i'jist
to let the spt'i'tatoi* <;iji.s|) tilt' I'lill mraiiiii^ of wonl or act ion.
NfVi'iM lu'lcss. a cci'tain lack ot" smool liin-ss wiiicli may W impiilcd
to tile play is ill kffpiii«x with the impulses wliidi (lomiiiate it.
Here we ln-lioM a single heiiiu: wlio has iiieessaiil ly wroiij^ed a
whole eommiiiiity. and it is the eomiiniiiity as a whole which
takes ven«:eiiMce on tin- lieiid. Thus the villajj;e of h'tienli' ( )ve-
juna is the chief persoiiaf.r*' <'•" the pla.w The (jiialities which
stand out in this tra,ired>' ai'e the contrast hetwceii the terror-
inspiriiij; scenes when the cinm luhiilnr is on the sla^'i' and the
simplicity of the pictures which i)resent the people as they live,
the variety of poetic si)eech with which the authoi- lias painted
all the passions of men and women. As an example of jjope's
P'liius in ^nviii'; expression to widel\- (lilVerin<; eleiiieiils of so-
ciety colored hy a note of primitive cultuiv this play is iinsur-
pass(Hl. We have the terse utterances of the overbearinj? comrn-
(lador. the natural and simple speech of the villap;e folk, homely
wit. and, above all. a i)opular element in soniyc and i)id)lic ainiise-
ments in the delineation of which Loi)e has few peei's. At no
time are we permitted to shake off the power of the monster,
we are never free from his pursuit. Repeatedly a pleasing rustic
scene is interi-upted by his entrance, and the shadow hanging
over the community again darkens the whole {)icture.

Ft'w plays of Lope present so many living characters, actual
types of the Spanish people who have thus been preserved for
us. The alcalde and regidor of the early days with their rugged
honesty and frankness, village maid and rustic youth, besides
various other peasant types, are depicted on the same canvas with
the grim representative of despotic nobility. For tliei-e can be
no doubt that the comcndador, far from being a mere individual,
represents the privileged class, which the sane and democratic
people of Spain have never thoroughly assimilated, the over-
bearing lord who, in the words of Lope, does not deign to take
his hat off to all, who considers the lower classes merely as tools
to his own ends. A play with such a theme of crime and revenge
is bound to have some scenes of unparalleled violence, such as

DEAMATIC AliT OF LOPE DK VICdA im

the abduction of the comendador's vidiins, ll()j;<,'iii^'s ami i-nirlties
followed by rioting and the summary revenge of tiic whole \ illat,'i-.
the torture inflicted by tlie examining judge on those wiioiii hf
deems acquainted with tiie guilty. Yet tlic whoh' is ])i-ouglit witli
such mastery to a logical conclusion that the spectator tinds every
esthetic and moral demand satisfied.

The dialogue is relatively free from artiiice and the language
on the whole is simple. As regards the construction, any division
into acts and scenes could really l)e dispensed with, as lhei-e is
no logical pause anywhere in the progress of the plot. There
are also passages with a distinct bearing on the cultui-e of the
author's day, such as satire on false learning and the academic
spirit, or ridicule of certain insincerities of society.

One of Lope's best comedies is, in my opinion, cl Ausentc en
el Lugar. If a comedy has the good fortune not to have the
traditional guns of heavy criticism trained upon it, it will suflfice
for it to have two fundamental qualities to insure its success:
a rapid forward motion from tlie first to the last scene, and the
ability of getting every reaction desired out of the audience.
Above all, it must not have the formality of tragedy which
requires moments of repose and only one great reaction on the
part of the audience at the su])reme moment of tragic climax.
Comedy demands a reaction, a stirring of the jjublic's risibility
with every comic incident, or it is a failure as comedy. To me
it seems that el Ausentc en cl Lugar fills these prerequisites
admirably. This play, too, should be presented with no fall of
curtain from start to finish; it is an unbroken jcu d' esprit, a
bit of royal fooling dominated by the wit and resourcefulness of
Esteban, a servant, one of Lope's most delightful aiul tangible
creations. Here is a personage who lives and breathes, ami
incidentally lends the vigor of real being to his master. No
simpler plot could be devised, since it is in reality a naive game
of hide-and-seek, in which the young gallant Carlos tries to make
others believe that he has left town when he is actually present,
thereby getting into a network of contradictions and difficulties.
The necessitv of amusing stage business, of varied gifts and

116 nii'.t.M.iTic .ihT (tf i.oi'i-: ni-: ] f.c.a

ivsourcofuliu'ss on tlu' part of llic m-tors, is ai-part'iit cvcM'ywlu'n^
and till' play in llic hands of a \hhm\ coniiiany must have ilc-
li^litt'il tile aiitiicncc and justified the cuncnt opinion that to
atti'ju't tln' i)ubli«' thfi-c was no invrntor like tlir iidniilnhlc Lojx'.
Tln> play has all his i)rt'donnnaid (|ualitit's of facile vci-sc, sini-
plii'ity of ilialofruf. and. to a nnu'kcd extent, freedom from ]H)etic'
verbiafje. There is no threat motive force beliind the inci(h'nts,
and the coniinj; and going of the ciiai-acters are not l)ase<I on
reason, as may be expected in a pla.\' of i)ui'e fancy and wit.
The element of balance also is iirescni. tiie young lovei- and Ids
dama being offset by the servant Kstehan. who is attached to
the lady's servant; incidents and ideas now and tlieii run in
pairs, traditional novelistic features are not lacking, such as con-
cealment, deception, and tlie like. But the author's invention
moves with such smoothness, even stereotyped elements are han-
dled with such a light touch, the traits of surprise in incident
and sparkling dialogue are so lavishly spread over the whole,
the verse is so admirable throughout, that fault-finding is dis-
armed at every turn. Superficial it all may seem now, but to
the public of Lope's day it was for tlie hundredth time a source
of gratitude for two hours delightfully spent. Fe^v comedias
retain such vitality after so great a lapse of time.

In both of these plays we thus find Lope's great qualities as
well as the defects of his artistic formula. But many others
could be selected to demonstrate with equal clearness how fre-
quently and successfully he aj^proached the formula of human
life. The reader may then fairly see how in the vast range of
his poetic creation Lope carried his audiences from utterances
of the merest amusement and gaiety, which represent the pass-
ing phases of life, to the deep and genuine voice of tragedy and
pain which must always endure.

LA DAM A BOB A

II

LA DAMA BOBA

The fundamental idea of oui- play, that lovf makes the simple-
minded clever, is an old one, having been best voiced by Ovid,
as I have had occasion to state before. Tlie far-reaching influ-
ence of the Latin poet carried this conception of the i)assion of
love over all parts of Europe, wliere it found higlily diversified
expression in fiction and drama. The earliest narratives of in-
terest to us, because they embody this power of love over the
rude or untutored mind, may be found among the Italian noveUr,
whence it spread into amorous literature of otlier countries.
The principal conception is so flexible and so easily used in
scores of different plots or stories that the presence of the idea
in any literary work by no means always implies indebtedness
to other material. This is markedly so in the case of Lope and
of the play of la Duma hoha which rests on a very meager idea,
namely, that the mind of a silly girl may be improved by love.
This could well have been considered a classic commonplace in
the author's day, but he amplified it in his own peculiar way,
conceiving a complete plot to serve as a frame. The comcdia
of la Dama hoha is, therefore, a noteworthy specimen of Lope's
facile play of fancy. It is his own from beginning to end. An-
other example of play embodying the main idea is Calderon's
Dc una causa dos cfectos. Here we have the contrast of two
sons, of whom the one is given to learning and serious living with
a touch of pedantry, while the other is light-headed and irre-
sponsible. Here love, depicted as containing within itself all the
sciences, also works a cure, teaching and ennobling the inferior
character. As is the case with Finea of Lope, the regenerate
Fadrique confesses his transformation gratefully. i)ayiiig to love
the following tribute :

118 /.I n.iM.i lioiiA

J'l' K'''"' ii'K*'"'o y \nli)r
ninor os diuMU); j>iu>s fiu'ia
viorto, qiu' injjoiiio no luil>icrii,
gala y valor sin amor.
Kl homhrc ipif con mayor
pi'rftH'ciou lufir lU-sca,
y oil solo salir sc cmiili'a
mas fjalan (|U0 ol mismo Apolo,
amor lo liac»\ jiiios os si'ilo
])or(jni' su (lama lo voa.
Kl nuo mas ansia ha toniiio
<lo mirarso sonalailo
l>or su iiijjoiiio y coli'luailo
do fortcsano ontondido,
la principal causa ha sido
amor, para que protonda
en una y otra contionda
do ingonio, per varies modos,
verso ai)laudiiio entro todos,
j)orque su dama lo ontionda.
El que mas vanaglorioso,
coronado de victorias,
en las humanas historias
hizo su nonibre famoso,
amor es el poderoso
afecto, que a ellas le llama,
no es solo opinion y fania
las que le ilustran valiente,
pues lo hace solamente,
porque lo escuche su dama.
Yo asi, como nunca he amailn
hasta ahora, ni he tenido
dama, ni galan he sido,
ni entendido, ni atentado;
pero ya (|ue enaniorado
sigo la iniposible e.strella
de la herniosura mas bella,
los medios he de buscar;
que con nadie quiero estar
mas airoso que con ella.

It is more than likely that Calderon had la Damn hoha in mind
when he conceived his play De una causa dos cfcctos, for in
spite of the vast difference in the two stories the fundamental
contrast between two brothers (in Lope we have two sisters) and

INTRODUCTION 119

a few details of the action make a sli^lit c-oiiiiei-lidii in the jjlots
lirol)able.

The exposition of la Dama huha is excellent. It is .s|)iriic(l
and leads the audience at once into the story. Nor does it laek
in immediate comic effect, for Liseo, who is presented at the risinji^
of the curtain as a self-confident, eager lover, filled wilh \\\\x\\
hopes as regards his fiancee, no sooner learns the real state of her
mind from the newly arrived Leandro, than his marital project
comes tumbling about his ears. He finds that his family has
contracted him to a simpleton. Yet the word of a gentleman
cannot be broken. So, leaving the audience expectant as to the
solution of his difficulty, the exposition closes. We are then
introduced into the liome of Octavio, the father of Nise and F'inea,
and the main plot, an exceedingly simple one, begins to unfold.
Octavio tells of his perplexity regarding his two daughters, how
little fit they are in their extremes of ignorance and learning
to enter into the married state. As this introductory scene is
omitted in all printed versions the structure of the play has
been greatly marred. In the following scenes we make the ac-
quaintance, first, of the blue-stocking Nise, and then of the silly
Finea, each being admirably portrayed with her characteristic
qualities. In subsequent entrances we meet a number of young
gallants, especially one Laurencio, who all belong to the cultn
circle of Nise. The latter seems deeply interested only in Lau-
rencio, but here, too, the course of true love does not run smootli.
For presently we find Laurencio abandoning the clever Nise for
the simple Finea, Avhose dowry has been greatly increased over
that of her sister by an indulgent uncle in order that her defects
of mind may prove less repellent to a prospective suitor. The
latter has been found in Liseo, who now enters, and, having been
introduced to his novia in an anuising domestic scene, he finds
his worst fears realized. In despair he decides to break off tin-
engagement and to turn his attentions to the more clever sister.

In the second act Nise has learned of Laurencio 's perfidy
and a quarrel ensues between the two lov(^rs. Liseo, for his part,
now thoroughly interested in Nise, finds L:iureneio guilty of

120 /../ n.iM.i noli. I

(loul)l(>-(K>alin^ in so far as he iiuikcs love \o Fiiica, iuul also Iciuls
Nisc to bt'lit'vc tliat lu' is still coiii'tiii"; Iut. lie (•liall('iii:ts liiiii
to a <lu«'l. wliicli, however, is siil)sc(|ii»'iit ly avoidfil by tlicir iccon-
ciliatioii aiiil tlif ;irri\;ii ot" ()t'tavi(). 'I'ln' irr;iiliiai iinproxi'inriil
of Kiiit-a's niiiul is also shown; shr accinii'i'S sonic inilcpcndcncc
of thought, wit ami ivsonrccfnlm'ss, and, above jdl. she becomes
consi'ions of the intinencc of Lanrcneio's snit. In tlie second act,
however, she is still a haha. nnac(|uainted with llie wiles of love
or the danjTi'rs of her ifjnoi'ant state. As a c()iise(|nence we liavc
some annisinfr scenes Ix'twen Ikm- and li< r lovei', who finds it
nt'ct'ssary to explain to her evei-y step taken in the conrse of his
wooinfj. The fathei-. for his i)art, is tilled with great anxiety
wiien he learns from her own lips of the new eonrtship, lest her
folly and ignorance mislead her. Liseo and Laurencio have in
the nieantimc agreed to help one anothei' in Iheir respective snits.
But Nise is not at all inclined to listen to Liseo 's unexpected
atlvances, while Laurencio is more successful, having received
Finea 's promise of marriage in the presence of various witnesses.
Tn the third act Finea 's regeneration is almost complete; she
connnends the power of love as does Fadri(|ue in Calderon's play.
Liseo, having been rebuffed by Nise and finding such marked
improvement in Finea, determines to return to the latter, and
thus live up to his contract with the father. This places Lau-
rencio, whose suit has met with violent opposition on the part
of the girl's family, in a difificult situation, and he and Finea
devise a trick to deceive Liseo into believing that she is still as
simple as ever. In this effort Finea succeeds by playing the
fool in her next interview with Liseo, and, the latter completely
hoodwinked, again plans to woo Nise, whose intelligence is pref-
erable at all costs to the follies of Finea. At this juncture the
father decides to refuse Laurencio further admittance into the
house, whereupon Finea and her servant Clara conceal the lover
and his servant Pedro in the attic. There the four are discov-
ered enjoying a fine spread, and Octavio, seeing that further
opposition to Finea 's union with Laurencio is useless, gives his
consent ; Nise also yields to the suit of Liseo.

INTIiODUCTION 121

The dose is less abrupt than usual, because Lope briir^'s his
uuiin idea, tlie cure of Finea and hei- vie1oi-y over tlie others as
well as herself, to a logical conclusion. The fact that tiie lovei-s
all change their allegiance at least once is not surprising in a
play dependent, as a game of chess, on a series of moves and
eountermoves which are born of rapid decisions and impidses.
Many of the elements of Lope's formula are present in la Dnma
hoha. We liaye duplication in the criada hoha, who is cured by
love, as is her mistress, clearly a theatrical combimilioii. In
addition to the contrast between the two sisters, a clever touch
is added in the ditferentiation of the characters of Laurencio and
Liseo. The former displays a frankness almost brazen in his
preference for money over wits, while the latter prefers intelli-
gence to wealth. Therefore each forsakes his original choice,
Laurencio abandoning Nise for Finea, and Liseo turning from
Finea, who was contracted to him l)y his relatives, to Nise. Then/
is no reason for shaking the head over this code of ethics which
emphasizes the superior attraction of a larger dowry. Apart
from the fact that it reflects the cold and calculating attitude on
the part of certain young men the world over, the contrast of the
two young gallants afforded Lope an occasion for satii-izing the
ways of human society.

The play also voices an amusing cidticism of poetic fads, of
stilted speech, and ridicules what our modern slang would desig-
nate as high-brow affectation. This is delightfully accomplished
in such scenes as that in which the servant Celia brings the blue-
stocking Nise a copy of Heliodorus, and the latter remarks:

. . . Es Heliodoro

griego poeta ilivino.
and the prosaic servant asks :

I Poeta? Plies pareeiume

prosa.
and Nise characteristically answers :

Es que hay poesia

en prosa.
and Celia replying on behalf of connnon sense says :

No lo sabia.

1-J2 /..« /'.I.W.I /.•(>/;.(

Ijuisiiuu'li as lilt' power of lovf \\\ny iimkc IIh' simpleton wise
and clfVt'r. it is not astoiiishin"; to liml tlic miracle oi' leaniiiiLC
without stutly added. Nnl oidy Kiiiea, luit lier sei-\aiit ('lara
fefer to llie elassies. and tliercitv li\c lip to tiie tradition ol' liie
stajre laiij^ua^e and demonstrate to the most exacting ol' critics
that the rel'orm ol' their wits is complete.

There are interesting |to|»nlaf elcmenls add<'d to tlie phit,
such as sinirinij and dancing'. We are Km! to int'ei- tha! the hittei-
retlet-teil a featui'e in liie education ol' Nonni; women of ^'ooil
familii's, who took lessons in these arts t'lom professional leachei's.
We have otlier evidence foi" this, and may eonsidci' it an imita-
tion of pi'aetices at court and in aristoei'at ic t'annlies, wliei-e
sinfjinp and dancinjr weie a eonnaon diversion

Finally, it would he difficult to find a play, in wiiieh lliero
ai-e >ri-eater opportunities for talented actoi's. It is evident
throu'jhout that Lope had in mind specific i)layers. i)i-esunud)ly
those whom he himself affixed to the list of (Iraniafis pt rsonue.
The title-role above all others demands a nicety of interpretation
and refinement of action which would make the actress strike a
happy mean between exaggerated indiecility and nnwarranted
intelligence.

]\ry notes to the play are intended especially for' the average
student of Lope, whose native language is Jiot Spanish. I am
aware that so extensive a commentary as I have added is open
to ci-iticism, and 1 am no less certain that as long as I am per-
mitted to labor at these choice tasks, my results may contain
some grave misjudgments. In this particular case it was not
my intention to overw'helm a simple comedy by floods of use-
less erudition. It was my desire not only to illustrate various
points of the play, but to illuminate Spanish culture of the
Golden Age by quoting interesting contemporary evidence.
Every detail of the play which tells us something of Spanish
life as it once was is worthy of careful consideration. I have tried
to take the point of view of the average person who may be inter-
ested in Lope de Vega and the Spanish drama as much as that

INTBODVCTION 123

of tlie seliolar wlio is apt to be bcttci- iiit'ornicd lli;iii IIm- I'rriii^;
commentator. It is also undeniable, that mere I'cferi'iices witlioiit
extensive quotations do not impel the reader to take the trouble
of informing himself in the matter referred In. I must repeat,
therefore, that many a note may seem gratuitous to a Siianiai-d,
but that I none the less entertain tlie hope tViat my effort to
stimulate the study of Lope may not fall on barren ground in my
own country.

124 /.I P. I M.I no I!. I

'I'lii: .\ri'()(iir\i'ii

Till' ;iutotrr;i|)li in;iiiuscri|tt of the hdiiui hnha lias liccii prc-
scrvt'd ill ail imiisiially ijood coiidit ion. 'riiric arc (Uily a I'fW
insif^iiilicaiit fi-asurrs niadi' l)y L<)|>c liiinsclf, and tlifsc coiiccrii
VtTSt's wliicli tlic aullior n-osscd out, and llicii rcwroh in a
slightly ditrcrcnt form. 1 have included llicni in the text in
parenthesis heeaiise they throw some iii^ht on Lojie's manner of
composition. The exccUeiit stale of preservation of this maiiu-
soript. as well as the few licenses to act (often appended in lai'fj^e
nuiiihcrs to the last paj^es of maniisci'ij)ts), indicate that this
original was cai"efull\' kept hy its owners fi'i/in the vei'\' he^'in-
iiinf?. We know that the play was wi-itten foi- the actress
Jcroiiima dc Burfjos, but it is by no means clear bow long slic
bad the autograph in her possession. All that Lope says (in a
letter to tbe l)id<e of Sessa, date? 1617) is: "nuiica V. Ex. tu])o
ki (lama hoha, porque esta es de Jeroninia do Burgos, y yo la
imprimi por una eopia, firmandola de mi nombre," wbicb may
be interpreted to mean that since the pla>' Ixdoiiged to tbe actress,
Lope (wbetber be still had tbe autograph or not) could not send
it eitber to tbe Duke or to tbe i)rinter. Be all this as it may,
suffice it to add that tbe original finally got into the famous
Osuna Library and is now a i)recious possession of tbe Biblioteca
Naeional at ]\Iadrid. vitrina 21, no. 5. Tbe old number bas been
discarded. In tbe Catdlogu df las piczas de tcatro que se con-
servan en el departamento de manuscritos de la Biblioteca
Naeional, compiled by A. Paz y Melia (Madrid, 1899), it is no.
810(1).

A comparison of tbe autograpb witb tbe first printed edition
makes it bard to believe tbat Lope examined witb any great care
tbe copy wbicb was given to tbe printer. He says, as we bave
seen, tbat be signed it, and so makes bimself responsible for
the form in which tbe play has hitherto been known. How
many omissions and discrepancies there are in tbe early editions

INTRODUCTION 125

may be seen from tlic ai)i)i'ii(l(Hl list of variants (p. 12i)i. 1 am
inclined to believe that a fairly acceptal)lc |troiiip1cr 's coity was
handed to Lope to sign, and that he gUuu-ed at it very hastily
before sending it to tlie printer. Tiie chief jiassages omitted are
precivsely such as might have been cut by the manager before
the parts were distributed among the company ; but to this loss
must be added not only the changes for the worse in occasional
phrases, which surely could not have been countenanced by tlie
author, but also a large ruunber of typographical erroi-s. so com-
mon in the printed comedias. A great many stage directions liad
to be added as Lope does not indicate all exits and entrances,
and the modern division of each act into scenes was to him, of
course, an unnecessary device although it is a helpful one to us.
Generally, but not alwaj's, any entrance or exit is indicated by a
cross (*) ; saiga and entrc are used interchangeably for en-
trances, and enirese despMasc or vdyasc for exits.

I have ventured to add a minimum of stage directions in
order to make these exits and entrances clearer than they are in
the original ; in every case the addition is enclosed in brackets.
Any superfluous letter, syllable, or word has been left in iiarm-
thesis or indicated in the notes, but this occurrence is very rare.

I have, of course, left untouched the many discrepancies in
spelling, such as ynteres, interes; hombre, onbre ; casa, cassa ;
hablaban, hablauan ; dijo (very rare) dixo; and many others.
The original, with negligible exceptions, omits all punctuation.
This necessitated the capitalization of the first word of every
sentence, and brought me face to face with Lope's arbitrary use
of capitals in general, a feature which has been modified, since
it seemed absurd to retain capital letters in the middle of a word,
or proper names with a small letter, and such words as Rayo,
Planeta, with a capital. These phenomena oidy annoy the aver-
age reader, and tell the scholar nothing tliat he does not already
know of seventeenth century manuscripts. The very few ac-
cents of the original, chiefly forms of the thii-d singular pr.--
terite, have been retained. Wherever the name of the pt'i'son
speaking is indicated by only a letter or two, I have written it

\-2ty l.t /'.(.U.I fiOH.l

in fiill : iil)l)i"fviati<)iis in llic tr\t nvv cxccj'dinj^Iy rnrc, ;iiiil ^,i\t>
hi'cii \vi-itt«'n (Hit : tliry cmlnacf s\n-]\ foi-nis ms (fK, or 7 for */(/< .
/(/•(( foi" iiiiistro: i>(iliii(il" tor ixihiKilariiK ;iiitl tlic like hi sliorl,
I h;i\r tiMctl lo pi'fscnt a car'cl'ul edition of |yO|ic"s text wliicli
will irivc a t'ailliiiil itit'a of liis manuscript and uiannci- of (((hi-
|)osiii«j, and yet not friirlitcii oil' anyone ahout to ]»e;,dii a study
of this j^i'eat draiiiat ist . ( )nly t w o 0I lier methods of i-epi-oduet ion
i"eniain»'d : cither a complete modei'ni/.at ion of the spellinji;, whieli
would si)oil my main purpose — to pi-esenl an edition of one of
Lope's autofjraphs ; or a |)hoto<;rapliic rejifint, whieh would
reach oidy a few intcreste<l ones. In the latter case the study of
Lope's art miirht not bo fui'thci-cd as 1 am anxious it should hr.
TluTi' exists also in the I'ihliotcca Xacional a manuscript
cojiy of the Damn holxi in a haml of 1lie fii'st Ihii'd of the seven-
teenth ecntui'y: it has many characteristics of the fii-st pi-inted
editions, and my jud«;ment. set down several yeai's ago, was that
it is an unimportant cojiy of a stage version, hut neai-er the
autograph than the known versions. This is hoiiie out by the
fact that it is apparently a copy made by Luis Ramirez de Are-
llano who. accortling to both Cristobal Suarez de Figueroa and
Vicente Espinel. had the reputation of being able to reproduce
a pla>' which he had heard l)u1 tliree times in the theatre; among
the plays he is reported to have thus reproduced was the Dama
boha. Compare Rennert : TJie SpanisJt Stage, p. 176. Such a
copy is scarcely calculated to thrown light on an autograph manu-
.script, even if we needed it, whicli is fortunately not the case.
It, therefore, seemed more profitable to show the relation between
the two versions directly connected with Lope's name, that is,
the first printed form which he signed for i)ress, and tlie auto-
graph, than the variants of a manusci'ipt of less impoi'tance
than either of these.

Printed copies, in general, scarcely do more than a very poor
reproduction of a great painting might do, that is, they may
serve, if the original is lost, to give an idea of the author's crea-
tion. But since we have the original in this case, the copies
seem pale and unsatisfactory withal. Indeed, the only lesson,

INTEODVCTION

127

and that a pathetic one, whicli a careful comparison of tin- orig-
inal with the printed versions teaches, is tliat our loss in the
disappearance of the autographs of Spanish writers, such as
Lope, Cervantes, and others, is beyond the power of any words
to express.

The relation between autograph and j)i-inted versions.

a.

a. Autograph MS. (Osuna Library,
161S).

c. The Eamirez MS (cf. above).

d. Printer's copy (signed by

Lope) ; generally destroyed
or lost, and presumably so in
this case.

h. Acting versions or prompter 's
copies; in the case of a large
number of plays these copies
were preserved and exist in
the Biblioteca Municipal of
Madrid. I have seen none of
la Dama boba.

fc. Madrid, 1617 (Part IX).

/•
f. Barcelona, 1618.

[g. Madrid, suelta of 18th century, entitled
la Boba discreta]

t

1i. Biblioteca de autores cspanoles, vol. 1 of
Lope's works (with slight arbitrary
changes).

i. Teatro Selecto: I (segun.la parte)

12S / ( /' ; 1/1 lion I

Tlu' i'(litio!is kiiouii lo lilt' iiuiy. tlicifrorc, he (•(Misidci'cd in llic
following oiiliT:

(. l)o/.i' fuiMOilias lie l.(>|>i' ill' \ t'-^ii saciiiliis ilc sus oii^^iiiiilcs \tov ol
iiiisiiio. I>irij;iil!is :il. . . . |)iit|iie do Scssn. . . . Ndxcmji ]iaito,
Afio 1(517. ("on |>ii\ ili'^jio. Mii Mjnliiil. ((.'(. l.a liarnMa, Xitini
liioiirufiii. Oft. fit., \\. 2X',\).

j. Till' snmo \oluim' rfprintotl at Haifflona, XiW^. It im|iiovi's soiiii'
typo^raiiiiical iMiors, cliaiij^cs tlio pmictii.il inn hfic ami tliiTO
toyotlior witli lialf a doziMi siiifjli' words.

'/. -V .Madrid siulta of the oiglitiHMith coutiiiv with the titli' Id linhn
tUsvrita, hasod on tlio jirintt'd vorsions.

h. llartzonbusi'h 's edition ol" Lope's Coitudias, in liihliohrd dr aitlorrs
espat'iolcs, I, 297-31G. As this version is accessible to all, its
imperfections can be stmlied by the reader without any cniii
nient. Reprinted from r or /'.

I. A reprint by Francisco Jose Orellana in his Iciitro .sclrcto (uilif/uo y
moth rill) iiacioiial ij cxtranjcro. . . . (Barcelona, 1866-68), 8 vols,
(pt. 1 in 2 vols.); cf. I, vol. 2, pp. 7.j9-781). Kcpriiitrd from
Hartzenbusch with very little change.

The i>lay entitled hi Boba discrcta by Cauizares has nothing
in common with our ]>lay. A very unsatisfactory translation of
the play into French under the title: La petite Niaise can be
found in the following volume: Les Chefs- d'oeuvre dii Thrntrc
Espufjiiol 'aiicien et moderiie ; traduction de dement Bochel, vol. 1
(Paris. 1900), j.. .5ff.

INTRODUCTION 129

VARIANTS OF TUK FIR8T EDITION OF MADRID. ICi;

The edition of l^arcelona. ]G18, re])riiit(Ml tliis version with
very few discrepancies, emending some typograpliicHl cii-ors iind
punctuation. The differences worthy of note are marked {H).
The disagreements between the autogi-ai)h manuscript and the
first edition, 1617, as listed below, cleai-ly pi-ovc that Lope sent
to the press a very defective acting version. The changes and
cuts which were made are of an arbitrary character having, no
doubt, been hastily adopted either during rehearsal, or while the
play was being acted. As it is humanly impossible to note every
insignificant variant, I have tried to limit myself to such as nuiy
have some importance. All ditJ^erences in spelling have been
noted but are not given to avoid useless repetition ; they can
be illustrated by the following examples: inuencion, inurii/ion ;
nacen, nazen ; piezas, piecas; licencia, licencia ; igual. ygual ;
ygnorancias, inorancias ; prouisiones, probissiones ; oficios, ollizios ;
cosa, cossa ; fe, fee ; enriquece, enrriqueze ; traes. trahes ; creer,
creher ; nombre, nonbre, ndbre ; entranbas, entrabas ; tejado,
texado ; jamas, xamas ; deben, deuen ; habra, aura ; Octauio,
Otabio. Words which may indicate a popular pronunciation
have been added. Examples are: discipulo. dicipulo: objec-
cion, objecion ; darle, dalle. I must emphasize again, that where
we possess the autograph, these differences in spelling of the
first edition have no scientific value. Misprints such as inniu-to
for numero, fingas for finjas, and the like have been omitted.
The numbers indicate the verses of the manuscript version.

130

/.I /M.U.I no/it

Coiiu'dia famosa dc la Dama l)()l)a »U' Ijoj)*- df \'ft;a Carpio.
Ilablaii «'n clla las piTsoiuis siguiontt's:

LaiirtMU'io

IV.l

ro

Duariio

Vn

ostniliante

FtMli

iso

Finea

Lisoo

Nise

Misouo

Celia

Ootauio

Clara

Lopi

i>

Vn

niaoatro do ilamar

Turin

Otni do eserinir

8aU'ii Lisoo. y Turin

12(t.

y \ii rohle

<"n"«ii

do (s) (B) (1r vamiiio

124.

de discnrso y de r:izi>n

1.

huoiias posadas

125-

128. omitted

10.

Corto, do Oastiiln

129.

contiir

11.

do Andahizia. y Souilia

i:io.

casaua

1.!.

vuos do los otios cuontan

140.

haze

(B)

150.

boba

IT).

0 oarpos

154.

dotes

17.

(osas . . . aliniouta (B)

155.

era

19.

Turin continues: do inia-

158.

le

genes eon la fe

169.

puedes dexallo

20.

adquiriilas

(171)

Vase el Estudiante

O.)

aque-ita otasion

172.

omits ^Que haremos?

2.;.

las tiene la deuocion

Ponte Turin a cauallo

24.

de Espana

174.

Ten pacieneia — heclio

2t».

esperar

176.

propria

27.

a que guise (B)

185-

272. omitted

.•^0.

quanto

(273)

Vanse, j saien Xisc d;uiia.

31.

antes instead of luzir

y Celia, criada

.I.S.

ya

278.

tiene

40.

la (B)

279.

las

52.

muy hobre

282.

Es que ay poesia.

54.

y desposado

284.

canseme

5.S.

transparentes

288.

todo se dexa entender

61.

essa

294.

e historial

64.

a(;uear . . . galea

296.

muestra

66.

eon tres puntos

297.

j)or

7.-^.

tambien

299.

oculta

75.

Oygo dezir que es hermosa

300.

y obscura, aun en ingenios

78.

nada se

raros (B)

80.

mas estima

303.

obscuras

81-84. omitted

305.

objecion

(89)

Sale vn estudiante de

(307)

Salen un maestro de leer,

camino

y Finea

91.

Y omitted

308.

esta

INTRODUCTION

131

:ii6.

Assi, ya, ya, ya, ya

460.

319.

K '

464.

325.

Letras son estas tambien

465.

328.

le dire

466.

329.

Esta? no se

467.

331.

Y estotra? Fin. Aquolla

redoda letra ?

469.

333.

Assi, si, si

470.

336.

Esta es r

471.

343.

oniits Ya miro; reads: Di

472.

aqui, be, e, n, ben

484.

346.

dize

485.

347.

precedes 346

(493)

350.

omits saca vna pabnatoria

499.

(351)

Dale una palmeta y ella
eelia a correr tras el

(500)

353.

0, perro, aqnesta

503.

355.

Celia. Ella le inata. Ma.
Ya

504.

357.

omits jAy, que me mata!

505.

357.

Nise. |A tu maestro? ^ Que

506-

es esto?

518.

358.

Ma. Tenganla ay.

522.

360.

Dilo

535.

362.

K

538.

368.

gentil

544.

369.

Y luego que la toino

546.

370.

toma, y cas la inano

550.

assienta

551.

372.

abraso

373.

discipulo ignora

552.

378.

dalle

(379)

Vase el maestro

556.

384.

dizen ban

562.

398.

Sale Clara criada i\c Finea

566.

405.

omits pues — Que ya jiario

568.

407.

iQuando Clara?

579.

425-

428. omitted

582.

441.

hablan

586.

443.

girigon^a entre ellos (B)

588.

444.

ni es espafiol

(589)

445.

viuda

593.

446-

448. larga, y compuesta de

594.

ozico, sospecbo que era su

605.

abuela, de negro, y bianco

(610)

vestido

610.

449-

452. omitted

(618)

tirar

todos sus deudos

Laniicol, Aramizaldo

Miscito

Tumbaliollin. con i)i('I di'

<;orra
bianco

y otros de negro \estidos
y otros con ropas de martas
^•apatillos
correr cafias
ves
Vanse Finea, y Clara
esso
Salen Laurencio. Duardn, y

Fcni.so, galanes
given to Duardo
given to Feniso and

Laurencio
given to Feniso
507. transposed
elecion
a Duardo
imbidia
contradicion
es pintar al que ya liega
la luz
e intencion
Feniso instead of

Laurencio
muchos se; given to

Laurencio
bien os
con quietud
claro
y luego

Du. Eseriue facil Platim
qual estas; esta (B)
obscuras

es a todos agradable
oniits Ni.^e a parte
contigo a quien
assi
la que

Haze \ise coino que cae
Du. Que es esto
Vanse Nise v Celia

i:::

/..( /M.\/.l liOli.l

(ill).

jjivon to Foiiist)

S45.

Gl'O.

Niso

846.

fi'.M.

Alloys (H)

(847)

«L'7.

Diiar.. 629 Fen.

(850)

(«;i5>

Vjuist' Diianlo, y FtMMM>,

857.

«|m'<l!i I.iiiiron/.io

859.

(i4r).

tnrdii «Mi

860.

(iMSM

Siilo IVilri). sii oriiiilii il<'

862.

Lniiroiicio

86."?.

(>.">.").

(liuortir mi inouiiiiii'iito

866.

«o7.

iiuncn; omits <iuo

871.

«58.

que on un lufjiir

872.

«")9.

firmo snoio siompro cstar

874.

662.

y tal on las doze esta

877.

665.

(leste pnesto en

878.

670.

Porque la

(879)

674.

senala a

681.

a

886.

6S4.

preciosa (B)

888.

69;i-

700. omitted

(889)

706.

la enijiresa

707.

prouar tu osadia

901.

709.

^Y es?

(90.3)

710.

necia

904.

711.

ha

905.

722.

uecio

(908)

72.5.

que con oro no se

729.

Yo tengo de enamorar

90S.

(741)

Omits [Sal^n] Finea y

Clara

912.

742.

Harelo si esta

(745)

Salen Finea y Clara

91.3.

745.

Buena

915.

75.3.

Y si agora que salis

918.

759.

famosas

921.

76.S.

tengan

92.3.

768.

limpio y sano

928.

784.

que en mi vida no he que-

929.

rido

930.

788.

Esperad

932.

794.

a redro vaya

939.

797-

804. omitted

942.

806.

cuerpo

944.

807.

passa el que

951.

816.

dexar

956.

817-

820. omitted

958.

829.

querer assi

959.

Cla: Tn jiailre

.\ nios, acordaos

Vase Lauron/io

X'aso I'edro

lI.iiiH' (juorido casar

Tolfclano o Sciiilhim)

t res

do la caxa

rej)olido

osto . . . fuoso

pero dime, .-iniiyii <'hn:i

]iolido

do la ropilia

Digo «nu'

veainos, tioncsh' ;iy .'

Saca Fint'ii un rctrato (>n

un nay|M' .|c In uKingii
jiierna y
que el I'eiiro
Salen Octauio viejo, y

Nise su hija
que estaua alii
Sale Celia
una post a

Mira hija quo has do ostar
Salen Lisoo. y Turin do

("amino
licion ( ?) (B) the copy

i>efore me is lilurred
(jual de las dos es mi es-

posa ?
ya no me ve
la

Esta

abrac^a a vuestra
hablo de
disereta soys
grande
B omits a
bobo

pudieras auer
Oct. Aunque honesta . . .
truxiste
ealor teneys
y eomo venis
esta
Ni. Calla hermana.

INTRODUCTION

133

960. especie, es liiula cosa
(961) Sale Celia con una caxa, y

agua

961. CeL Aqiii esta el agua

corned.

962.

El agua sola prouoca

964.

omits direction Beba

969.

Aguardad

970.

tu te

971.

lleuado

973.

Ay padre mas desdichado

978.

Entrad adentro vosotras

979.

a prevenirle la cania

980.

La mia pienso

981.

Octab: Tu no ves

982.

que aun no estan heehas

983.

entra adentro. Fin. Que

me plaze

984.

Ni. A'amos hermana. Fin.

A Dios, ola.

(985)

Yause Nise, y Finea

(991)

Vase Octauio, y quedan

Liseo, y Turin

991.

el cielo . . . Lis: no se

993.

mis desdichas: ay Turin

996.

mas espantosa

1001.

Quando

1012.

y con tal ccnso se cobra

1017.

esse. . . . pues vemos

1018.

experiencia notoria

1021.

Es verdad

1030.

las palabras se rompan

1031.

ronipanse letras

1032.

cobra

1035.

ilizen (pic vn hoinbro eno-

jado

1037.

si le ponen

1038-

1039. transposeii

1038.

en el su imagen

1039.

que represente su soinbra

1040.

Templa

1043.

cristal del

1044.

libertad pregona

104.5.

tu yra,

1046.

Es verdad

1051.

trocar

1053-

1056. omitted

1060.

boras

1061.

distintas

(1063)

omits: Fin del primero

acto de la Dama boba.

AcTO Seguxdo de Lj
Omits: Personas del

(1063) Salen Laureneio, Duardo,
y Feniso.
1063. se ha
1065. vence
1092. del admirarse

1094. pueda

1095. Todo es
1099-1122. omitted
1123. ya que a Finea
1125. le
1128. tendra
1133. saben amar
1135-6. Order: Lau. Fen. Du.

1143. para hazer tales agrauios

1144. y desprecios.
1147. Fen. and Du. speak

(1149) Salen Nise, y Celia.
1160. Fue Sol que las alumbro

I Dam.\ Boba
Segundo Acto

1161. mientras ella se eclips6

1167. verde velo subtil

1168. la alegre ribera

1169. placentera

1170. cantando los Ruysenores

1171. y van creciendo las flores

1172. mostrando

1173. vuestra salud y sembrando

1175. rian (B)

1176. dieron

1178. vuestros cristales '

1179. aguas

1181. para poder celebraros

1184. con que procnra alegraros

1187. almas

1188. las que

1189. efetos hareys

1190. omitted

i.;4

/..I /M.U.I lum.i

11!M.

insort«'il: visto con tiinta
nlojj'"'"

(136.5)

ns);5.

111/, (lostos ojos

nj)r).

onforino llo^juo

1201.

iiiouiniuMitos

1207.

viniiiios

1.167.

120S.

ciiii l:i line mnslrnys :tinii

1379.

1210.

ya «|ui>

13S2.

122.1.

Dosso

13S().

(i2:<n

N'aiisc |)ii.iril(> y l-'cniso

1.394.

1 2.t().

falsi)

1405.

124.1.

mi iniKMti' crcisto

140().

124;-).

cull ijfiitil atrcuiinitMito

1407.

1245).

jioliic y (>l]a rica

140S.

12.^0.

tu (liscirto. t'Ua

1415.

1261-

12().l. omitto.l

1417.

1272.

OS sn crofifiiti". y inoii-

1420.

}::uaiitt'

(1427)

.\ftor 127(5. iiisortcd: ay

Laur(>iH»ia. quo huon pago

1428.

do f^, y amor tan con

1444.

stanto? Yo onfornio ilc

1445.

mis tristozas, quo son hion

1448.

torribles lualos, jior ro

1449.

g:alos tuyos tuuo oiifjafios.

1453.

moutiras, fraudes. Pero

14.54.

piios tan duros fuoron di.

1465.

que me disti> iliaiiinntos.

1475.

1277.

lo has visto

1478.

1281.

dicho requiebros

1479.

1282.

a Finea. omits me

1481.

1290.

mas que te

1293.

yo a la boba

1483.

1294.

la

(1485)

129.5.

Do quo to quexas

I486.

1296.

neeio

1487.

l.SOl-

1304. omitte.l

1491.

1.^09-

1325. omitted; cf. above:

1495.

after 1276

1499.

1.321.

Aora dexame, Laureneio.

1500.

(1326)

Sale Liseo solo.

1.501.

13.3.5.

ruegala

1503.

(1339)

Vanse Nise, y Celia.

(1505)

1.340.

Espantome

1.341.

essos rigores

1.352.

con las lenguas

(1355)

Vase Liseo

1357.

simple sin duda

Vaso TjaiinMiciii, y salo un
maostro do dancar, d.-iii
do licidii a l'^ino;i : cm
pioca ol a daiic;ir. y olla
so quoda

omits no

y:i salH;a

Traod

.■I ciiscalioli's cdiiliosso

omits mo

mas yo no

no ontrovs in;is injiii

no

hayi.-ir

Tonod, sofioia

aspcre/.a

mansodiiiidiro

Vaso el Maostro, y sale
Clara

))orsiguomo.

Por osso x'ongo

))or ossa

diforoncia

oostilla

assi para

y aun mas, muy bion

Puso on la ostopa

Tno vos

ringlones

dondo

Clara continues: mas bien
se podra leer

Libre Dios

Sale Oetauio

omitted

ni ol loor, ni ol dancar

Aquol

bueluo luogo

todos hombres

no digays

diga (s)

Pues tome por su vida

Carta. Estoy muy agra-
decido a la merced que
me hazes aunque he pas-
sado toda esta noehe
contemplando tu hermo-
sura. Rasguele

INTBOIWCTION

13.j

LjO."). Xo (lize mas? Oct. No

(lize, y justaiiieiite
1506. lo que falta loiiipi
1509. por estremo

1511. ser herniosa

1512. el galan, el limlo, el Olo-

roso

1513. omitted

1514. el afeytado, el limpio, y el

curioso

1522. vendra a entender

1523. hija. mirad

1525. No lo haie mas

1526. porqiie . . . bien ol liom-

bre
(1528) Sale Turin.

1529. Oct. Que ay Turin ? Tur.

Que a matarse van al
campo

1530. en este punto mi

1531. vn hidalgo

1536. de esse Laureneio
1538. adonde yran? Tur. Yran
(1541) Vanse Octauio, y Turis.

1548. sentir.

1549. Yo no se lo que esto ha sido

1550. despues que el hoinbre me

vio

1552. el se ha lleuado

1553. Si como, imagino en el,

1554. si duermo, le estoy so-

nando,
1556. su imagen
1558. buelve un espejo
1561. en ella miro
1565. trasfornias
1572. romper
1579. presumo
(1581) Vanse, y salen Laureneio,

y Liseo.
1582. me dezid la ocasion que a

esto OS obliga ?
1588. audays del
1590. lo diga
1592. su dote
1598. dezir
1600-1639. omitted

1 <)}(). I'lies yo OS promcfo de
1642. por Iden
1644. y no conuj lingidos
(1648) Al)ra(^an8e, y salcn Octauin.
y Turin

1648. Oct. Turin aquesta dizes

que es pendencia?

1649. y auran disinudado. Oct.

O caualleros

1650. omitted

1651. solos aqui

1653. llegue

1654. salimonos entrandjos mano

a mano

1655. a tratar nuestras eosas

1658. holgare de que os boluays

1659. omitted

1662. Torque en viendote auran
•lisiniulado
(1678) Vanse, y salen Xise. y
Finea

1680. La misma que

1693. el me dixo aqui

1696. Desde oy

1699. a enojarte

1704. .No ereo
(1707) Vase Nise

1708. tan desdicdiada
(1710) Sale Laureneio

1725. me ha difdio aqui

1730. ya

1732. Tandjien ha difdio
(1743) Ponele el lienqo en los o.jos.

1743. omits no

1744. Pues quita luego los tiiyos

1748. Finea continues: Ijleuas-

telos en el lien(;o?

1749. Tjau.: Si, seiiora, no —
1751. omits a

1757. Xo nie ha de renir por esto
1759. sabras

1761. entonces, muy bien me

acuerdo

1762. omits y
1765. Pues no

(1765) Sale Nise. y velos abra-
(^>ados.

i:;t5

I. A t>AMA JUIliA

1 :(!■).

() (|iii> liion

1907.

077«»)

Viiiisc LiiurtMU'it), y Nisc ilo

las iimnos

(1909)

ITsJ.

propria voluiitad

1 7S(>.

mi ]>aiiro vioiie

(178S)

Salo Octnuio

1911.

179.1.

yo njiora

1919.

1 7iH).

.\y ijjnonuicia t;il. puos

1920.

.limo bi'stia

1921.

17!is.

:il priiu'ipio fuc lioclio

1922.

aiinel abraco

192.!.

17!»!>.

alto t"l hrat^'o dcriH-lui i\o

1927.

LaurtMicio

]9:i2.

1S02.

lin'fjo il('sabr:u;;»il:i (picilo

ajjora

19:i4.

ISO:?.

piensa

1942.

1806.

se llama

1944.

1809.

Si. tu no vcs

194S.

1812.

del que

1949.

\SU.

tomando ya, i)or oierto

19r,0.

rreo

19;'j1.

ISIS-

1819. omitted

1820.

donde tu hermaua esta .'

1952.

(1825)

Vase Octauio

1953.

1828.

omits me

1955.

(18.31)

Sale Lauroneio

1956.

1834.

eseusase

1957.

1838.

Porque te fuyste

1958-

1841-

1844. omitted

(1961)

1846.

(B) omits lo

1963.

1847.

dino n ombre

1964.

1851.

y assi podre

(1966)

1856.

Otro mejor puede aucr.

1974.

(1859)

Salen Duardo, Feniso, y

1975.

Pedro.

1977.

1860.

Dua. y el. . . .

1979.

1873.

Yo voy aqui ecu mi iiifronio

1980-

1878.

casarte

1984.

1883-

1888. omitted

1895.

Duardo, Feniso, Pedro

1896.

Finea continues: yo doy

1988.

aqui la palabra

(1991)

1898.

Fen: cosa, etc.

1991.

1899.

Todos. Si

1993.

1900.

Haz cuenta que ya estas
Sana

1995.

1906.

Dua: Pues . . . casas

(1997)

Si, Duiirdo. Dua: V Xisc
bclla .'

\'ans(> liUiiri'iUMo, y Duardo,
queda Finea, salon Octa-
uio, y Nise.

ossas

Y COM ser ne^^ro

era

Sess'i

lioiii':i

\ iiii) a casarse

llama al

rinirme. (P) Nise:
f^iiicn . . .

sabed
y ya estoy

(jue tanta pena me dauan

tu no ves que estas easada

omits me

Oct. Locura est ran a
No entre aqui L.'iuiciicio.
Ni: Es yerrc

que el, y Liseo la enganan

y aquesta tra^a han tornado

O, pu(>s con esso yo callo

con essa nos tapas

A^en alia dentro
1959. omitted

A^anse Octauio, y Finea.

el, y Liseo, por ver

aquesta

Sale Liseo solo

rudeza

ingenio

darte

mi amor, Nise. no niontiras
1983. omitted

Liseo continues: escu-
chame. Ni. Que incon-
stancia

Desta

Sale Laurenzio

esta con Liseo

de entender sin duda

sospecho que ya me ha
visto

omits stage direction

INTRODUCTION

137

1998. Haniiie dicho que

1999. . . . yo 110 lo ereo

2008. que de nianera me tratn

2011. destos fauores

2013. No puedo menos

(2013) Vase Nise

2019-2022. omitted

2023. Liseo aquesta es discreta

2032. Es la mayor a1aban*;;a

Omits:

Fin del sej^juiido acto de

la Dama boba.

. Acto Tercero de la Dama Boba
Omits: Los que liablan en el tercero acto

Sale Fiiiea sola con otro vestido.
(Directions like this indicate that

we are dealing with stage copy.)

2036. acidente, o elecion

2051. omits en

2058. En el lugar en que ostoy

2062. estoy

2063-2072. omitted
(2073) Sale Clara

2077-2080. omitted

2081. Atribuyen
(2091) Salen Octauio, y Miseno

2109. la

2121. Zamoes; Zamores (B)

(2125-2128) and (2129-2132)

transposed

2130. Y de Herrera

2131. canciones, el Peregrine

2132. el picaro de Guzman
(2149) Salen Xise, Liseo, y Turin

2154. que ya Finea

2157-2168. omitted

2175-2184. replaced by: Nis.
Poner freno a la niuger
es poner limite al mar.
Estraiias quimeras son;
que amor eomo es aci-
dente tienese donde se
siente, no donde fuera
razon

2187. falta

2188. en la

2189. hizo

2192. curso natural
(2201) Sale un criado
2206. Liseo

(2213) Sale un criado, y los

musicos
2213. ya los musicos venian

(2221) Cantan los musicos, y bay-
Ian Nise, y Finea lo que
quisieren; this direc-
tion indicates that the
printed copy was inde-
jiondent of the auto-
graph.
2221-2318. omitted

2320. a Dios

2321. este -agrauio

2322. Tratemos nuestro concierto

2324. . Yo OS tengo

2325. omits os

2326. mis dichas

(2327) Vanse todos, quedan Liseo.
y Turin

2327. Turin? Tur. Senor, <iue
2338. essa discrecion
2339-2342. omitted

2343. y no ha

2347. discreta
(2356) Vase Liseo
(2365) Salen Laurencio, y Pedro

2366. el fin

2382. PJl 110 OS ]>retende agra-
uiar

2384. cumplirse?

2387. omits el
(2394) Vase Turin

2395. Lo mismo que presunii

2398. se viene a mostrar aqui

2400. discreta, la voluntad

2401. habilida<i

138

/..( /M.U.I noli A

(•J40r>) Salo KiiH'ii

240(t. niuMiii

'J41."t. on mi moinorin

l24l(>. fiiliiorto

L'42(t. y si a utia iiarto

LM2r>. tu

24L'(). y tu ima;i<Mi hflla inira

lI4.'{4. fonsi'jos

244L'. trai'ilo al ciu'llo
244a-244(). ouiitto.l

245.'). Mira lo iiiii> lia rcsnltailo

245!). Lisoo to (iiiitMc liicii,

24(>1. plojjuo

24(5/). part OS
2469 2470. oniitto.l

24S!1. la tiorra iloii.ic ikkmmi

24i)0. aiiilarla

24!t4. ya — ya con zelos

2498. Ya estoy atento

2505. a su regalo

2510. a sus (lessees

2511. esso si peiisaron

2512. hi jo varon, y
251(5. sefiora

2519. Aqui nio r|iiioio

2520. Ya llepa

2521. En grandes

2522. aun no lo siento

(2523) Escomlense Laurencio, y
Pedro, salen Liseo, y
Turin.

252.3. Yo lo flexo oonocita<lo

2524. Al fin

2528. ha querido

2533. me ha dicho

2541. luna nueua

2542. Ay tal loeura? Tur.

2543. given to Liseo
2544-2547. omitted
2548. Creo

2560. given to Turin
2561-2568. omitted

2582. le vemos

2583. oon alas pero el en fin

2584. es espiritu. Fin. Yo os

ereo

2585. An dan

2590. Ponpio

2()10 12. given to l.isco
(2()l.'i) \';insr Liseo, y Turin,
s:ileii l.aurencio; y I'e
dro.

2(;i.".. I'iii. C^ue te jiarec «■ .' l.au.
.\Iuy hieu

2t)l'l. (|ue lias ilado

2(517. omits a

2()22. a iin ospejo

2(529. d('S)iicarm('
(2630) yalen Nise y Celia

2633. engafias

2638. el alma

2651-2654. omitted

2655. Fin. Ay eieloa

2(557. voyme. Nis. Los ])asos
rej)orta

2658. Lau. Que (piieres?

2660. las que trato son

2663. Quorraste casai' ausi

2664-2667. omitted

2668. leuantando

2669. y de aqueste

2670. hecharme la ful])a a mi
2672. omits a mi. Que 1iien

(2672) A^'ase Laureucio
(2676) Vase Pedro

2677. aquello

2683. buena

2691-2694. omitted

2700. Cel. Que es esto? Ni. A
tonta se huelue

2707. (juieres

2708. eon quien el alma viuia
(2719) Salen Oftauio, Miseno,

Duardo, y Feniso
2723. No me direys la ocasion
2725. del saber
2730. pienso que tu la
2731-2734. omitted
2739. expresamente
2744. Como? ... ha tracailo

2747. mas facil

2748. En paz tu r-asa tendras
(2749) Salen Laurencio, y Pedro

2749. en estremo

INTRODUCTION

139

2757. (lisereta

2758. iiiclinaua
2760. a la muger

2766. ya son poeos

2767. podeys
2772. tales

2775. (le estar

2776. esse

2777. y es

2778. deys mi muger
2779-2782. omitted

2784. Lau. Finea. Oct. Finea?
Lau. Aqui

2789. given to Duardo

2790. darsela

2791. Oct. Ay tal cosa?

2792. dixera?

2793. la diera
(2801) Vase Octauio

2801. tras mi

(2803) Vanse Nise, y Celia

2803. Yd los dos tras el por Dios

(2809) Vanse Duardo, y Feniso,
y quedan Laureneio, y
Finea.

2811. Dime, que auenios dc liazer

2815. Yo tengo un

(2817) Sale Clara

2819. por secreto

2821. Y Pedro?

2826. consuelo me de

2827. Otra cenara

2828. vamos

(2829) Vanse Clara, Pedro, y Lau-
rencio, queda Finea.

2830. aqueste mi loco amor

(2837) Sale Octauio

2839. estas

2845. Boluera?

2848. milagro

2849. perdiste

2850. como a ser boba boluiste?
2855. Pues yo lo he de

28.59. Adonde?

(2867) Salen Liseo, y Turin

2871. Oct. Tente loea, donde vas?
2874-2875. omitted

2877. que no riic lia dc vcr Jamas
(2879) Vanse Finea, y Clara
2879-2884. Reads:

Li. Que es estc' Oct. No
se por Dios; ella ha <lado
en esconderse do los lioin-
bres, j)orque ilize quo la
enganan facilinente.
Li. En gentil locura ha
dado: doniie osta Lau-
rencio?

2885. A Toledo. Lis. .\Iiiy l.i.-n

hizo.

2886. Y tu por vontura croos
2889. Ay de que tu entres acpii
2890-2891. omitted

2902. escudos
2904. es tuerta ?

2914. quiero que

2915. desta casa
(2918) Vase Octauio

2918. Que me dizes.'
2923. Sino te casas, sefior

2928. case

2929. dinero

(2931) Vanse, y salon Finea, y

Clara
2937. cosa
2939-2962. omitted
2967-2974. omitted
2983-2986. omitted
(2989) Salen Octauio, Miseno,
Duardo, y Feniso.

2989. Que esso le dixistes?

2990. furia
2991-2994. omitted
2995. resueltamente

2997. tratasse

2998. de
3006. tienesme
3013. oyd
3016. sino

(3019) Vanse Finea y <'lara
3019-3026. Reads:

Duar. Vuestra desdicha he
sabiilo y siento como es
razon.

140

/..I /'.I.U.I lum.i

Foil. Y _vo «iuo en ostii oca-
sioii nyii itonlitlo ol soii-
titlo.
Oct. l^iit' yji <>i:i «U(M<l!i fii
t»Mnli v cstaua loco do
volln.
Mis. t^uo Instinia. l>ua.
Nisf lu'lla con Ijisco vionc
nqui.
(.'{027 ) Salon Lisoo, Turin, y Niso.
.•{027-;J072. cut to tho following:
Nise: Ks doblar la volun-
tatl do mi aficion. Lis.
Tonipla a;j(>ra. holla Niso.
tus (losdonos, quo so va
amor i)or la jiosta a la
casa del agrauio.
(3072) Sale Celia
3072-3075. omittoil
3076. Cel. Senora? Nis. que ay?
Cel. una cosa.

.'{077.

causar espanto

3078.

Di lo que es

3081.

dos conejos

3084.

caniinauan

.'{173.

3086.

given to Turin

3174-

3087-

3090. omitted

3178.

3093.

eorri

3179.

.•5104.

given to Nise

3180.

3107.

Sefior tu furia los dos

3181.

3108.

lo veremos

3182,

3109.

injuriado

(3110)

Vase Octauio

Fin .1

3110.

given to Duardo

Bob

gi\oii to l''«'nis()
Lis. Si('m|iro
Duar. Do osso os ]>odroys
) Salon LauroMcio , con la

ospaila dosnuda, y Finoa

a sus ospaldas, I'odro y

<'lara, y Oct.-iiiio ilctras

do toilos.
I)nji. Toiioos, Ocauio: os

L.-iuroncio .'
Traydora
soga
;{14(). omittod
Ya

omits y; Niso 1;iiiiImoii
le quiero . . . Ic .-idora
given to J>u.
gozen los que el
3169. omitted; inserted:
Tur. Y la Clara socarrona

que lleuaua los gazai)Os?
Cla. Mandoniolo mi sofiora.

Tur. O (ivial los ongu-

llirian.
Ni. y tiiya Celia
-3177. omitted
mi liota sera
solos (|uodanios
dadmo

given to Fon.
jierdonan

Fin <\e la Comedia de la Dama

;;il"J,

;tii;!
31 in,

(3118

;!i '_'.!.

3i:M),

3143
315.5
3156
3158,
3159
3160
3166

INTRODUCTION ] 4 j

LA VERSlFlCACIoX
ACTO I.

Redoudillas verses 1 to 184

0<^^^^as verses 185 to 272

Redondillas verses 273 to 412

Romance (eii i-o) verses 413 to 492

Redondillas verses 493 to 524

Soiieto verses 525 to 538

Redondillas verses 539 to 634

Soneto verses 635 to 648

Redondillas verses 649 to 888

Romance (en o-a) verses 889 to 1062

AcTO IT.

Redondillas verses 1063 to 1154

Quintillas verses 1155 to 1214

Redondillas verses 1215 to 1230

Romance (en a-e) verses 1231 to 1364

Redondillas verses 1365 to 1484

Endecasilabos sueltos y algunos pareados aconsonantados

verses 1485 to 1540

Redondillas verses 1541 to 1580

Pareados, aconsonantados y versos sueltos, todos

endecasilabos verses 1581 to 1667

Redondillas verses 1668 to 1787

Pareados, aconsonantados y versos sueltos, todos

endecasilabos verses 1788 to 1824

Redondillas verses 1825 to 1860

Romance (en a-a) ; verses 1861 to 2032

AcTO IIT.

Quintillas verses 2033 to 2072

Redondillas verses 2073 to 2220

Baile y cantar con estribillo* verses 2221 to 2318

Redondillas verses 2319 to 2426

Romance (en e-o) verses 2427 to 2634

Redondillas verses 2635 to 2870

Romance (en e-e) verses 2871 to 2930

Redondillas verses 2931 to 3026

Romance (en o-a) verses 3027 to 3184

14-J /..I /'.I.U.I liOJi.l

' It is a j^ii'itt loss to tlio history of 8|)aiiish imisic ami of the dain'O
tliat in tlu> fjioat iiiajtirity of cast's tlu'so rtntltiits arc oiiiitti'd in tlic printed
\»'rsions of the comk i/iii.v. Kvon wlii'ro tlu'y arc pri'scrvcil, tlioy arc so
much I'lirtailfil tliat we jjot no clear iiloa of tlioir ionii>l«'ti' form. Lojio
has written a larjje nunilter ttf tliese compositions, and yet liow jiitifully
small is our record of tliem! The following scheme may ho of assistance
in studyinjj thoir structnre. This one manifestly has live main ilivi;>ions
separated by a single verse with refrain.

J. (<j) -0 verses without refrain, the even ones lieinjj assonant in a a;
they are of iineipial len^jth, from live to eij^ht syllaliles. This
division forms a kind of i)relude or ])reface without refrain,
and may well liave lieen sunjj by both jjirls, or by the musi-
cians, an<l jieriiaps without ilance accompaniment.
{h) verso suelto <'oii estribiilo (121241-12).
11. (a) 14 verses, the odd ones of eijjht syllables beiiifj assonant in e-o;
tlie even one is the refrain (rstribillo). Jf this dance had the
character of a muil(i)i:a, we may imagin.^ the girls dancing or
singing in turn, ami this division may have been sung by one
of them, all the musicians an<l e\en the spectators joining in
tlie refrain.
{b) verso suelto con estribiilo (2257-8).

III. (fl) 20 verses, the odil ones of eight syllables ))eing assonant in ao;

the even verse is the refrain; ilanced and sung presumably by
one of the daughters, the rest joining in the refrain.
(h) verso suelto con estribiilo (2279-S(t).

IV. (a) 12 verses without refrain, the even ones being assonant in a-a,

and thus corresponding to division I ; presumably again sung
by both girls.
(b) verso suelto con estribiilo (2293-4).

V. («) 22 verses, the odd ones of eight syllables being assonant in o-o;

the even verse is the refrain; danced and sung Ijy both girls,
the rest joining in the refrain.
(b) verso suelto eon estribiilo (2417-8).

A special study in these cantares with their dances would be of the
greate.st interest. A similar composition can be found in Velez de Guevara 's
la Serrano de la Vera (cf. the edition of Professor Menendez Pidal and
Seiiora de Menendez Pidal (Madrid, 1916), p. 151) and in the same poet's
Fo.m de Alexandria, II, fol. 189 v.
Los Labradores cantan:

Esta nouia se lleua la flor,
— que las otras no —

Copla.
Lupino y Tierrena,
para en vno son —
su gala y belleza,
para en vno son —
el sol y la estrella,
para en vno son —
etc., etc.
The popular character of these songs and dances is so pronounced that
they have a special charm, even after this great lapse of time. As in the
case of Lope's songs, traditional coplas, or verses, were absorbed by them
(cf. for example, vs. 2313-2315).

LA D.iMA IK) HA U:;

LA DAMA P.OBA

COMEDIA DESTE ANO DE 1613

PERSOXAS DESTE ACTO

Lissco, cauallcro Ortiz

Turin, lacayo Caruajal ( ?)*

Leandro, cauallero Almonte ( ?)*

Otdbio, vie jo Qtinoxes

Misseno, su amigo ...Villanthha

Duardo f 1 GrKHAUA

Laurenzio < cauallcros > Benito

Feniso [ J Simon

Rufino, maestro Aguad(j

Nise, dama Jeronima

Finea, su hcrmana ]\Iaria

Cclia, criada Ysahel

Clara, criad.a{s) Ana Maiua

Pedro, lacayo

* The name Almonte has been scratched so as to be scarcely legible
ami Caruajal written directly over it, as though the latter were intended
to take the part of Leandro. Lope's intention, however, may have been
to assign the part of Turin to Caruajal (cf. also the note on the actors
and actresses).

ACTO p[rIMERO]'

[Salgan] Lisseo, cauallero, y Turin, lacayo. Los dos dr camino.

Liseo. i Que lindas possadas !

Turin. Frescas.

Liseo. No ay calor.

Turin. Chinches y ropa

tienen faiiia en toda Europa.
Liseo. Faraoso Ingar Yllescas ;

no ay en todos los que inii-as -^

qnien le ygnale.

1 An asterisk in the margin indicates that the corresponding verse has
a note.

]0

15

14J ACTO ri;i.\IKli'()

Tidiit. Ami si supicsos

la ciuisn. . . .
Lisa). ; ^^'i'l '''^^

'fi(riii. '^'•'^ iiicsscs

lit' ^uiiidas y (If iiu'iitiras.
Lis((t. Coino i\*\\\'\. 'ruriii. sc .iuiilaii

di' la Cortr y dr Si'])illa.

Aiitlalu/ia y ("astilla,

vuds a otros i)r('^iintaii,

vnos (h' las Viidias cucntan,

y otros (.'Oil disciirsos largos

de probissioiies y cargos.

cossas quo el vulgo alinu'iitaii.

; No toiiiasti' las medidas?
Tur'ni. \'iia do/fiia toiiie.

Liscu. i.\ yiuagenos?

Turin. Con la fee

(pie son de Espana admitidas, ^^

por milagrosas en todo

(pianto en (luakpiiera ocasion

les pide la debo(^ion

y el nonbre.
Lisco. Plies, dese mode

lleg[n]en las postas y vamos.
Turin. i'So has de comer?

Liseo. Aguardar

a que se guise, es pensar

que a media noehe llegamos ;

y vn despossado, Turin,

ha de llegar quando pueda

luzir.
Turin. Mui atras se queda

con el repuesto Marin;
pero yo traygo que comas.
IJsfo. j Que trahes?

Turin. Ya lo veras.

25*

30

LA DAMA BOBA

]\r,

Lisco.

Turin.

Liseo.

Turin.

Lisco.

Turin.

Lisco.

Turin.

Liseo.

Turin.

Lisco.

Turin.
Liseo.

Turin.

Liseo.
Turin.

Liseo.
Turin.

Liseo.
Turin.

Dilo.

Guarda.

Necio estas.
^, Desto pesadumbre tomas?
Plies para dezir lo que es . . .
Ay a quieii pesa de oyr
su nonbre ; basta decir
que tu lo sabras despues.
Entretienese la hanbre
con saber que ha de comer.
Pues sabete que ha de ser. . . .
i Presto !

tozino fianbre.
Pues I a quien puede pessar
de oyr nonbre tan hidalgo,
Turin ? Si me has de dar algo,
&que cossa me puedes dar,
que tenga ygual a esse nombre ?
Esto y vna hermosa caxa.
Dame de queso vna raxa ;
que nunca el dulce es inui onbre.
Esas liziones no son
de galan ni despossado.
Aun agora no he llegado.
Las damas de Corte son
todas vn fino crista! :
trasparentes y diuinas.
Turin, las mas cristalinas
comeran.

Es natural ;
pero esta hermosa Finea,
con quien a cassarte vas,
comera. . . .

Dilo.

no mas
de azucar, mana v xah'a.

3-)

40

45

'50

55

60

m; .\( TO ri:i.Mi:i:a

Pasanisi' viui scmaiia ^^

♦•oil (los piiiilos (Ml t'l ayi't'

(ic a/ucar.
/,/.« «. (iciitil (lonayrc.

Turin. ," Qi'<' pifiisas dai- a su litM'niniia?

Lisu). A Nist'. sM lici-nuuia hclla,

Vila n)sa df iliainaiitt's ; ''^

((lU' asi ti'n<raii los aiiiaiitcs

talcs tiniit'/.as con clla.

V viia cadciia laiihicii

(juc conpitc con la rossa.
Turin. Dizcn (luc cs tanbicn licniiossa. "^

L/.svo. ]\Ii csi)Osa parczc bicn,

si doy credit o a la fania.

Dc su herniana poco se ;

pero basta que me de

lo que mas se estiina y aina. ^^

Turin. ; Bello golpe de dinero!

Lisco. Son quarenta mil ducatlos.

Turin. \ Brabo dote!

Lisco. Si contados

los llcgo a vcr eomo espero.
Turin. De vn macho con guarniziones ^^

verdes y estribos de i^alo

se apea vn hidalgo.
Liseo. Malo,

si la merienda me pones.

* [Saiga] Leandro, de camino

Leandro. Iluesped, ^habra que comer?
Liseo. Seays, senor, bien llegado.

Leandro. Y vos en la misma hallado.
Lisro. I A ^Madrid? . . .

Leandro. Dexele ayer,

cansado de no salir

90

LA DAM A BOB A

14:

con pi-etciisioiK'S caiisadas.
Lisco. Essas van ailjcliuadas

eon esperar y sufrir.

Ilolgara por yr con vos:

llebaramos vn caniino.
Leandro. Si vays a lo que ymagino,

nunca lo permita Dios.
Liseo. No llebo que pretender;

a negocios echos voy.

(,. Soys de esse lugar ?
Leandro. Si soy.

Liseo. Luego podreys conozer

la persona que os nonbrare.
Leandro. Es Madrid vna talega

de piezas donde se anega

quanto su niaquina pare:

los reyes, roques y arfiles

eonozidas cassas tienen,

los demas que van y vienen

son como peones viles ;

todo es alii confussion.
Liseo. No es Otabio pieza vil.

Leandro. Si es quien yo pienso, es ai*fil,

y pieza de estimacion.
Liseo. Quien yo digo es padre noble

de dos hijas.
Leandro. Ya se quien ;

pero dixerades bien

que de vna palma y de un I'oble.
Lisco. I Como ?

Leandro. Que entranbas lo son ;

pues Nise bella es la pabna.

Finea vn roble, sin alma

y discurso de razon.

Nise es muger tan discreta,

sabia, gallarda. entendida,

ftn

](i(t

10.:

110

11.5

120

12.5

148 .tcro riilMEliO

(luaiito Fiiica ciicofjidii.

holm, imlipfiia y yiiix-i'l't'lii ;

y aim piciiso ([Ut' olii 1 ralar

(|ii(' la casaiiaii.
I.is'ti. \ii Titriii] ; No csi'iiclias? 130

Liditdrii. N'cnlad cs (|iii' no liabra iiiuclias

<|ii(' la |Mii'(laii y.mialai'

I'll I'l ri(iuissiino dole

.Mas ; ay dc atind (Icsdicliado

(lUf ('S]tci'a Vila lit'slia al ladol 135

Plies mas {\v al^Miii nianiucsotc

a eodit'ia del diiicro

prt'tomio la boberia

desta daina, y a jioifia

hacen su calle terrero. 1*^

Lisro. \a Turin] Yo Hobo lindo eoiKMcrto ;

a gentiles vistas voy.
Turin. \a Lisco] Disimula.

Lisco. Tal estoy,

que apenas a bablar aeierto. [a Turin]

En fin, senor. ^Nise es bella ^•*''^

y disereta? ...
Li andro. Es eelebrada

por vnica, 3' desseada

])oi- las partes que ay en ella

de gente inui principal.
Lisro. ; Tan neeia es esa Finea? ' 1^^

Lcandro. Mucho sentis que lo sea.
Lisco. Contenplo de sangre ygual

dos eosas tan desiguales ;

mas ^, como en dote lo son?

Que hermanas fuera razon 1^^

que los tubieran yguales.
Lrandro. Oygo deeir que vn hermano

de su padre la dexo

esta hazienda, porque vio

LA DAM A no HA

que sin olla fuera en vano

cassarla con honbre ygual

a sn noble naeimiento,

snpliendo el entendiiniento

con el oro.
Liseo. El hizo iiial.

Leandro. Antes bien ; porque con esto

tan disereta vendra a ser

como Nise.
Turin ^Has de comer?

Lisco. Ponine lo que dizes presto,

aunque ya puedo eseusallo.
Leandro. ^Mandays, senor, otra cossa?
Liseo. Seruiros. [Entrese Leandro].

i Que linda esposa !
Turin. i Que haremos ?

Liseo. Ponte a caballo;

que ya no quiero comer.
Turin. No te aflixas, pues no es echo.

Liseo. Que me ha de matar, sospecho,

si es neeia, y propia muger.
Turin. Como tu no digas si,

i, quien te puede cautibar ?
Liseo. Verla, ^no me ha de matar,

aunque es basilisco en mi ?
Turin. No, seiior.

Liseo. Tanbien aduierte

que, siendo tan entendida
Nise, me dara la vida,
si ella me diere la muerte.

* Ent reuse, y salgan Otahio, vie jo, y Misciio

Otahio. Esta fue la intencion que tuuo Fabio.

Miscno. Pareze que os quexais.
Otahio. Bien mal enplea

mi hermano tanta hazienda, no fue sabio ;

149

1 (50

Ifi.l

]70

17.3

^180

1S5*

200

i.-,(i .t( TO ri:i.\ii:ii-()

hit'ii cs que Fahio, v tiiic no sabio si'a.
Misi no. Si fii tlfxai'os liaziciitia os lii/.o a«rral)io,

vos propio lo jiizj^ad.
Otdbio. I)<'x<> :i l-'iiMa, 1^0

a titiilo (If siiiplc, tan fjri'ii'i rciila,

(luc a todos liasla aj^oi'a iios siislciila.
Mist no. hcxola a la (pic mas Ir pai'c/ia

do sus s()l)i-iiias.
Otdhio. \'()s aiidais discrclO;

purs a (piicii licfcdo su holx'i'ia, l^''*

dcxo su hazicuda i»ara el niisino cll'L'to.
Mi.^rno. l)e Nise la diuina gallardia,

las altas cspci-auzas, y el ('Oii(;('to

OS ilcht'U di' Icufi- apasionado.

/, Quion duda (pu' Ic soys mas iiudiuado?
Ofahio. ]Mis hijas son enti'anbas ; mas yo os juro,

(pic nu' cufadan y causan cada viia

l)or su camino, (piando mas proeuro

mostrar amor y ynclinacion a alguna.

Si ser Finea sinple cs caso duro,

ya lo suplen los bienes dc Foi'tuna

y algunos que le dio iiaturaleza,

sienpre mas liberal de la belleza.

Pero ver tan discreta y arrogante

a Nisse mas me pudre y martiriza, 210*

y que de bien hablada y elegante

el viilgazo la aprueba y soleniza.

Si me cassara agora — y no te espante

esta opinion, que alguno la autoriza — ,

de dos estremos, boba o bachillera, 215

de la boba elec(3ion sin duda hiziera.
Miseno. No digays tal, por Dios ; que estan sujetas

a no aeertar en nada.
Otahio. Eso es engafio ;

que yo no trato aqui de las discretas ;

solo a las baehilleras desengano. 220

205

*

LA DAM A BOB A 1.1 1

De Vila cassada son partes pL'i-felas

virtiul y oiiestidad.
Miseno. Parir cadauo,

no dixerades mal, si es argumento

de que vos no qiiereys ontendimiento.
Otahio. Esta la discreeion de vna cassada ^25

en amar y servir a su niarido,

en vivir reeogida y recatada,

honesta en el hablar y en el vestido ;

en ser de la farailia respetada,

en retirar la vista y el oydo, 230

en ensefiar los liijos euidadosa, *

preciada mas de linpia cpie de lieniiosa.

^Para que quiero yo que baeliillera

la que es propia muger coneetos diga ?

Esto de Nise por cassar me altera ; 235

lo mas como lo menos me fatiga.

Resuelbome en dos cosas que quisiera,

pues la virtud es bien que el medio siga :

que Finea supiera mas que sabe,

y Nise menos.
Miseno. Hablais euerdo y grabe. 240

Otahio. Si, todos los estremos tienen vizio;

yo estoy con justa causa disconteiito.
Miseno. Y i que ay de vuestro yeriio ?

Otahio. Aqui el ofieio

de padre y dueno alarga el pensamiento.

Casso a Finea, que es notable yndicio 245

de las leyes del muiido al oro atento.

Nise, tan sabia, doeta y enteiidida,

apenas halla vn onbre que la pida ;

y por Finea simple, por instantes

me solicitan tantos pretendientes, -•^"

— del oro mas que del yngenio amantes —

que me cansan amigos y parientes.
Miseno. Razones ay al parezer bastantes.

l,-,2 ACTO I'UlMKliO

«

2(50

\l)tHhiiK\ \\\n luillo yo. sin iinu'lios nparcntos,

y cs el Imsi'iii" vii oiiliiv v\\ todo cstado

lo (|ii<' 1«' t'alta mas, coii mas ciiidado.
Misi no. Eso no nitifiido Ihcii.

Otabiti. Ksta<lm(' ati'iito.

Xiiij,Miii lionbro luu-ido a pt-iisai" viciu*

(|U(' Ic falta Misi'uo ciitfiidimifiild,

y con t'sto no busca lo (\uv tienc.

\'t' (|m' el oro Ic t'alta y el siistcnto,

y i)i('nsa (luc buscallc Ic conuit'nc;

jiut's como scr la t'alla •■] oi-o cnlii-nda,

dt'xa el entcndimiento, y busca liazienda.
Misnio. ; Piedad del eielo (jue ningun nazido -<5;j

se qiiexe de faltarle entendimiento!
Otabio. Piles a mucbos, ((uc ininea lo ban erehido,

les falta, y son sus obras argumento.
Misoio. Nise es aquesta.

Otahio. Quitame el sentido

su desbaneeimiento.
Misrno. Vn casamiento 270

OS tray go yo.
Otahio. Casemosla ; cjue temo

alguna necedad de tanto estremo.

* [Entrcnsc Otahio ij Miseno, y salgan] Nise y Celia,

criada
Nise. i, Diote el libro ?

Celia. Y tal, que obliga

a no abrille ni tocalle.
Nise. Pues, ^porque?

Celia. Por no ensucialle, 275

si quieres que te lo diga ;

en eandido pergamino

vienen muehas flores de oro.
Nise. Bien lo mereze Eliodoro, *

griego poeta diuiuo. * 280

LA DAMA BOBA

l.-:i

Celia. fcPoeta? Pues paivzioino

prosa.
Nisc. Tanbien ay poessia

en prosa.
Celia. No lo sabia ;

mire el prineipio, 3' causome.
Nise. Es que no se da a entender 285*

con el artifieio griego

hasta el quinto libro, y luego

todo se viene a saber

quanto precede a los quatro.
Celia. En fin, ^es poeta en prosa? 290

Nisc. Y de vna historia amorosa

digna de aplauso y teatro. *

Ay dos prosas diferentes,

poetica y historial :

la historial, lisa y leal, 295

cuenta verdades patentes

con f rasi y terrainos claros ;

la poetica es hermosa, *

varia, culta, licenciosa

y escura, aun a ingenios raros; 300

tiene mil exornaeiones

y retorieas figuras.
Celia. i, Pues de cosas tan escuras

juzgan tantos?
Nisc. No le pones,

Celia, pequeiia objeccion; 305

pero asi corre el engaiio

del mundo.

^[Salgaii] Finea, dania, con mas cartillas,
y Rufino, maestro.

Finea. Ni en todo el afio *

saldre eon essa lizion.
Celia. Tu hermana con su maestro, [a Nise]

i.-,4 .K TO nnMF.no

Ms. .

I Coiiozt' las Iflras ya ?

Clia.

Kn los priiicipios csla.

h'ufino.

r;ii;i»'Ui;ia. o no li'tr;is min'stro.

; {^uc vs t'sla '!

Finui.

I.clia sfiM.

Nufhio.

;, L»'tra?

Fiiii (I.

;, Plies t's ot ra cosa ?

Ixutint).

; Xo siiu) t'l allta ! ; i^w- lirnnosa

bestia ! [aparh |

Fith a.

Hicu, bicn ; si, ya. ya :

rl allta (It'l)c (Ic siT,

(luaiido aiulaua ciitvc las coles.

liiifino.

Esta es ea : los esitanoles

no la solemos poner

en iiiiestra lengua xanias.

Usaiila nnicho alemanes

y tiaineneos.

Fiiua.

i Que galanes

van todos estos detras !

liufino.

Estas son letras tanbien.

Finca.

^Tantas ay?

Rufino.

Beyntitres son.

Finca.

A[o]ra baya de lieion,

que yo lo dire mui bien.

Eufino.

^Que es esta?

Finea.

^Aquesta? No se

Rufino.

Y e esta ?

Finca.

No se que responda.

Rnfino.

Y i esta ?

Finca.

^Qual? ^ Esta redonda

letra ?

Rufino.

Bien.

Finca.

Luego i, aoerte ?

Rufino.

i Linda bestia!

Finea.

i Assi, assi I

Bestia, por Dios, se llamaua;

310

3 1 5

320

32.')

330

LA DAM A BOB A 15.1

pero no so me aeordaua. 335*

Rufino. Esta es erre, y esta es y.

Finea. ^Pues si tu lo trahes errado? •

Nise. I Con que pesadunbre estan !

Rnfiiio. Diaqni: b, a, n, ban.

Finea. ^Donde van?

Rufino. i Gentil cuidado! 340

Finea. Que se van ^.no nie dezias?

Rufino. Letras son : niiralas bion.

Finea. Ya miro.

Rufino. B, e, n, ven.

Finea. ^Adonde?

Rufino. Adonde en mis dias

no te buelba mas a ver. 34.'j

Finea. ^ Ven, no dizes ? Pues ya voy.

Rufino. ; Perdiendo el juieio estoy !

Es ynposible aprender.

jViue DiosI que te he de dar

vna pahneta.
Finea. ^Tu a mi? 3.50

* [El maestrrj] saca vna palmatoria.

Rufino. ]\Iuestra la mano.

Finea. Ela aqui.

Rufino. Aprende a deletrear.

Finea. [Ay, perro! ^aquesto es palmeta?

Rufino. Pues ^que pensauas?

Finea. i Aguarda !

Nise. Ella le mata.

Celia. Ya tarda 35.5

tu fabor, Nise disereta.
Rufino. i Ay, que me mata !

Nise. h Que es esto ?

l A tu maestro ?
Finea. Hame dado

causa.

Nis<. iCoino?

Final. Iliiiuc I'li^'afiado.

Ifiifino. ; Vo t'ii«xiiriiul()?

Msr. Dili! |>r('st<). ••'"'^

Finra. I-'staiia a|ircii<licii(l») a(iiii

la let I'a ht'st ia y la <'a.
Nhc. La piiiiifi-a salx's ya.

Fi'iiKi. Ks vrrdad : \a la apiciidi.

Saco vn (;o(|ii('t(' Ar palo, ^''•''

y al caho viia incilia hola,

pidioiiic la tnaiio sola,

— ; mira que Undo rcgalo! —

y apciias mv la tome,

(liiaiido ;i:as! la bola asiciita, ■'"'^*

quo pica como piniienta,

y la mano me quebro.
Nisc. Quando el dicipulo ygnora,

tiene el macsti-o li<;cn(;ia

de castigar.
Finra. j Linda cieneia ! 375

Rufino. Aunqiie me diese, sefiora,

vuestro padre qiianto tiene,

no he de darle otra lizion. •
Cclia. Fuesse. [Entrese ■Rufxno]

Nisc. No tienes razon ;

sufrir y aprender conniene. 3^0

F^inca. Pues las letras que alii estan,

I yo no las aprendo bien ?

Vengo quando dize ven,

y voy quando dize van.

j Que quiere, Nise, el maestro, 3^-5

quebrandome la cabeza

con ban, bin, bon?
Celia. Ella es pieza ^

de rey. [aparte]
Nise. Quiere el padre nuestro

LA DAMA BOhA

que ai)r('iulamos.
Finca. Ya yo se

el Padre Nuestro.
Nise. Mo digo,

sino el nuestro, y el castigo
por tlarte menioria fue.
Fiuca. Ponganie vn ylo en el dedo,

y no aqiiel palo en la palma,
Celia. Mas que se te sale el alma,

si lo sabe . . .
^'^nea. Muerta (luedo.

j 0 Celia ! no se lo digas,
y veras que te dare.

* \ Saiga] Clara, criada
Clara. Tope contigo, a la fee. [a Finea]

Nise. Ya, Celia. las dos aniigas

se lian juntado.
Celia. A uadie quiere

mas en todas las criadas.
Clara. ; Darae albricias, tan bien dadas,

eomo el sueeso requiere !
Finea. Pues i de que son ?

Clara. Ya pario

nuestra gata la romana.
Finea. ^Qierto, eierto?

Clara. Esta niafiana.

Finea. ^Pario en el tejado?

Clara. No.

Finea. Pues ^donde?

Clara. En el aposento ;

que cierto se echo de ber
su entendimiento.
Finea. Es muger

notable.
Clara. Eseueha vn moniento.

Salia por donde suele

.'i'.Hl

?.9r>*

400

405*

410

tL'O

«

*

158 ACTo i'i;j.\ii:i:o

v\ sol, iiiui iralaii y rico,

iM)ii la liltr.-ii till ny, "''*

foloratlo \ ;iiii;irill(» ;

andauan los carrctoncs *

(|uitaiulolt' t'l roinadizo •

(|Uf (la la JuK'lu' a Madrid.

.\iiiii|U(' no sc (|ui('ii iiic dixo

(liic i'Vix la callc Mayor

el soldado mas anti^Mo,

piips nuiica rl iiiayoi' ^\r b'laiidcs

prcsciito taiitos serui/ios.

rrc^'oiiauaii a^'ua ardicnte, 425*

— a^ua viziiit'ta del vino — ,

los honbi't's canifslolciidas, *

tod OS naranjas y gritos.

Donnian las rontas grandos,

dcspertauan los offizios,

tocauaii los hoticarios

sus alniirt'zes a i)ino,

qiiando la gata de cassa

t'Oinenzo con mil suspires

a dt'zir: ; Ay, ay, ay, ay,

(\\w qiiiero parir, marido!

Lt'bantose Oziquiniocho,

y fue corriendo a dezirlo

a sus parientes y dcudos,

que debon de ser nioriscos,

porque el lenguage que hablaban

en tiple de monazillos,

si no es gerigonza entrellos,

no es espanol, ni latino.

Vino vna gata biuda,

eon bianco y negro vestido,

— sospecho que era su aguela — ,

gorda, y conpuesta de ocico;

y si lo que arrastra onrra,

430*

*

435

440
445

LA DAM A BOB A j.-g

como dizL'ii los antiguo.s, 450

tan onrrada es por la cola

conio otros por sus ofi(;ios.

Truxole eierta manteca,

desayimose, y prebino

en que reoeuir el parto ; 455

hubo temerarios gritos ;

no es burla, pario seys gatos

tan remendados y lindos,

qne pudieran, a ser pias, *

Ilebar el coche mas rico. 4i;n

Eegozijados baxaron

de los texados vezinos,

caballetes y terrados,

todos los deudos y amigos :

Lamicola, Araniealdo, 465

Marfnz, Marramao, Mizilo,

Tumbaollin, Mico, Miturrio,

Rabicorto, Zapaqnildo ;

vnos vestidos de pardo,

otros de bianco vestidos, 470

y otros con forros de niartas,

en cueras y capotillos.

De negro vino a la fiesta

el gallardo Golosino,

Into que mostraua entonzes ■^'5

de su padre, el gaticidio.

Qiial la morzilla presenta,

qual el pez, qual el eabrito,

qual el gorrion astuto,

qual el sinple palomino. 480

Trazando quedan agora,

para mayor regozijo,

en el gateseo senado,

correr gansos eineo a cinco. *

Ven presto ; que si los oyes, 485

4'.M)

ICO ACTd /'/./.W /•;/.'(>

dims (luc i)art'/t'n iiinos,

y (laras a la pai-ida

el paraliicii di' los liijos.
FiiKd. No iiif imdicras coutai"

cossa |)aia «•! j^usto inio

dc mayor coiitt'iitamicnto.
Chini. Caiuiiia.

Final. Tfas li caiiiiiio.

\Ftilr( ns( FiiKd 1/ ('l(ir<i\

Xisr. I Ay locura sciiicjantc ?

Ctlid. ;, Y Clara I's boha taiibicn?

Xisi . Tor t'sso la (inici-c l)i('ii. "^''-^

Cilia. La sfincjaii/a cs l)astaiito;

auiHiue yo pienso que Clara

OS mas bollaca que boba.
Nisc. Con esto la cngafia y roba.

* [Salgan] Duardo, Feniso, Laurcnzio, cahallcros

Diiardo. Aqui como estrella clara ^*^^

a sii hermosura nos giiia.
Feniso. Y aim es del sol su luz i)ura.

Laurcncio. \ O reyiia de la luTmosura !
Duardo. \ 0 Nise !
Feniso. ; 0 senora mia!

Nise. Caballeros . . .

Laurcncio. Esta vez, • ^05

por viicstro yngenio gallardo,

de vn soneto de Duardo

OS hemos de hazer juez.
Nise. I, A rai, que soy de Finea

hermana y sangre?
Laurcncio. A vos sola, ^10

que soys Sibila espafiola,

no cumana, ni eritrea,

a vos, por quien ya las Graeias

LA DAM A BOB A l,jl

son quatro y las :Musas dicz,

es justo hazeros juez. 515

Nise. Si ygnoranzias, si desgracias

truxerades a jiizgar,

era justa la eleccioii.
Feniso. Vuestra rara discrezion,

ynposible de alabar. 520

file jiistamente elegida ;

oyd, sefiora, a Eduardo. •

Nise. Baya el soneto ; ya agiiardo,

aunqiie de yndigna corrida.
Duardo. La calidad eleinentar resiste o25«

mi amor que a la virtud celeste aspira, •

y en las mentes angelicas se mira,
donde la ydea del calor consiste.

No ya como elemento el fuego viste

el alma cuyo buelo al sol admira ; 530

que de ynferiores inundos se retira,
adonde el serafin ardiendo asiste.

No puede elementar fuego abrasarme.
La virtud celestial que viuifica,
enuidia el verme a la suprema alcarme ; 535

que donde el fuego angelico me aplica,
icomo podra mortal poder tocarme,
que eterno y sin contradiccion inplica?
Nise. Ni vna palabra entendi.

Duardo. Pues en parte se leyera, 540

que mas de alguno dixera

por arroganzia : — Yo si.

La yntencion, o el argumento,

es pintar a quien ya llega

libre del amor, que ciega 545

con luz del entendimiento,

a la alta contenplacion

de aquel puro amor sin fin,

donde es fuego al serafin.

i(L> AiTo ri:iMj:iio

Sist . Ar^unu'iito \" yntcii/ioii •''•'^*

(|U('(1;\ ciiffinlido.
Laurt mio. i I'l-ofmulos

COIKM'plOS I

Frtiiso. .MiK'lio la I'scoiKh-ii. *

Duardd. Trcs l'ui't,'os k\\\v corrt'spomlcn,

lirrmosa Nisc, a li't-s imiiulos,

(Ian t'uiithiiiifiito a los olros. •''"-'•'

A/.vc. l>it'ii los podevs (Icclarar.

Dunnhi. Calitlad cU'iucntar

OS t'l caloi" rn nosotros ;

la (jek'Stial cs virtud

quo ealicnta y (iiu' rccrea, ^^^

y la angelica es la ydea

del t-alor.
A'/.sT. Con ynqiiietnd

escuelio lo que no entiendo.
Duardo. El elemento en nosotros

es f uego.
Nisc. ;. Entcndeys vosotros? 565

Duardo. El puro sol que estays viendo

en el eielo fuego es,

y fuego el entendimiento

serafico ; pero siento

que asi difieren los tres ; ^'^^

que el que elemental- sc llama,

abrasa quando se aplica ;

el celeste viuifica,

y el sobreceleste ama.
Nise. No diseurras, por tu vida ; ^"^^

vete a escuelas.
Duardo. Donde est as,

lo son.
Nisc. Yo no escucho mas,

de no entenderte corrida.

Escriue facil . . .

16;^

LA I) A MA HO HA

a lo que en eosas iliuinas nsn

muirdo. Platon,

escriuio, puso eortinas ;

que tales, eomo estas, son

matemathicas figuras

y enigmas.
^'^■'^c- Oye, Laurenzio.

Fcniso. Ella os ha puesto silenzio. \u Duardo] ''*'

Duardo. Temio las eosas escuras.
Peniso. Es luuger.

Duardo. La claridad «

a todos es agradablc,

que se eseriua, o que se liable.

* Nise aparte
Nise. I Como va de voluntad ? 590

Laurcncio. Como quien la tiene en ti.
Nise. Yo te la pago mui bien.

No traygas contigo quien *

me eclipse el hablarte ansi.
Laurcncio. Yo, senora, no rae atrebo 595

por mi humildad a tus ojos ;

que dando en viles despojos

se afrenta el rayo de Febo ;

pero, si quieres passar

al alma, hallarasla rica 600

de la fee que amor publica.
Nise. Vn papel te quiero dai- ;

pero ^, como podra ser,

que destos visto no sea ?
Laurcncio. Si en lo que el alma dcssea 605

me quieres faborezer,

mano y papel podre aqui

asir juntos atreuido,

eomo finjas que has cahido.
Nise. i Jesus! \cac]

iii4 ACTo vniMEno

Laun ncio. <. k^'"' »'•'< t'^<^?

Msr. Ciihi. 610»

Laurnnio. Con his oImms itspomlislc.

yisi. Kssas r('S|)(iiiilcii iiicxt)!*;

(|iM' no iiy sill olirjis aiiior.
Lauri ncio. Amor cii ohras coiisistc
iVi.sT. I.aurciicio iiiio, a I )ios ([iifda. 615

I )iiai'(lo y Ki'iiiso, adios.
huiirdo. Y taiita vontiira a vos,

t'onio lit'nuosui'a os coiK-cda. |( nlr< use Nisc y ('rli(i\

/, Qiu" OS lia (liclio del soncto

Nisse 1
Laiiriucio. Quo os nmi estremado. 620

Duardo. Habreys los dos nmrmurado;

(liic hazrys versos en cfcto.
Laun ncio. Ya no es inenester liazellos

para saber nmrniurallos ;

que se atrebe a eensurallos, 625

quit'n no se atrebe a entendellos.
Fcniso. Los dos tenenios (^ue hazer;

lieencia nos podeys dar.
Duardo. Las leyes de no estorbar

queremos obedezer. 630

Laurencio. ^lalieia es esa.
Feniso. No es tal.

La diuina Nise es vuestra,

o. por lo menos, lo muestra.
Laurencio. Pndiera, a tener ygual.

* Despidanse, y quede solo Laurencio.
Laurencio. Hermoso soys, sin duda, pensamiento, 635*

y aunque honesto tan bien, con ser hermoso,
si es ealidad del bien ser probechoso,
vna parte de tres que os falta siento.
Nise, eon vn diuino entendimiento,

os enrriqueze de vn amor dichoso ; 640

LA DAM A BOB A u;r,

mas soys de (lucno jjobre, y cs forzoso,
qiK' cii la neeessiilad falte el contcnto.

Si el oro es bianco y (.-cntro del descanso,
y el descanso del gusto, yo os prometo,
que tarda el nauegar con viento manso. 'J-i'J

Pensamiento, muderaos de sujeto;

si voy necio tras vos, y en yr me canso,
quando vengays tras mi, sereys discrcto.

«

Entre Pedro, lacayo dc Lauren zio
Pedro. j Que necio andaua en buscarte

fuera de aqueste lugar ! 650

Laurencio. Bien me pudieras hallar

con el alma en otra parte.
Pedro. Luego ^ estas sin ella aqui ?

Laurencio. Ha podido vn pensamiento

reducir su mobimiento ^•^■'^

desde mi, fuera de mi.

^No has visto que la saeta

del relox en vn lugar

firme siempre suele estar,

aunque nunca esta quieta, ^^^

y tal vez esta en la vna,

y luego en las dos esta ?

Pues assi mi alma ya,

sin liazer mudanza alguna

de la cassa en que rae ves, 6*^--*

desde Nisse que ha querido

a las doze se ha subido,

que es numero de ynteres.
Pedro. I Pues como es essa mudanza ?

Laurencio. Como la saeta soy, ■ ^'^

que desde la vna voy

por lo que el circulo alcanza.

Seiialaua a Nise.
Pedro. Si.

(iSO

GcSo

i,;,i .i( TO ri:LMi:i;()

Lauirncio. Piu's ya scfialo tii Finca.

I'tdro. ;, Esso (iiiicn's (luc It' cn-a ? ^"•'

IjaiirotciiK ;Vov (\\ir no. si ay causa?

Imiiiu mill. Nisf cs viia sola h(>nnosa.
Fiiica las do/.c son :
ui'a tit' mas Itfiitlizioti,
inas tlcscaiisada y copiosa.
Em las doze el ofizial
ilcscansa, y bastalc scr
ora I'utonzcs dc comer
tan prct'issa y natural.
Quioro deeir que Finea
ora de siistento es,
ciiyo descanso ya ves
quauto el lionbre le dessea.
Dennie ]Hies las doze a mi,
que soy pobi'e. con muger,
que dandome de comer,
es la mexor para mi.

Nise es ora ynfortiinada, *

donde mi planeta ayrado

de sestil y de qnadrado ^^^

me mira con frente armada.
Finea es ora dichosa,
donde Jupiter benigno
mo esta mirando de trino,

con aspecto y faz bermosa. ''^^

Doyme a entender, (lue poniendo
en Finea mis cuidados,
a quarenta mil ducados
las raanos voy preuiniendo.

Esta, Pedro, desde oy ^^^

ba de ser enpressa mia.
Pedro. Para aprobar tu ossadia,

en vna sospecha estoy.

690

LA DAM A h'OIiA

l(i7

10

Launncio. ^Qual?

^^^^^■^- Que te has de anv,H-ntii-

por ser sini)le esta imigcr.
LaurcHcio. ^Quien lias visto de coiner,
de descansar y vestir
arrepeutido xainas ?
Pues csto viene eon ella.
Pedro. feANisedisci-eta ybella, 71.-

Lanrciizio, dexar podi-as
por vna boba ynorante ?
Laurcncio. ; Que ynorante maxadoro !

iNo ves que el sol del dinero

va del yngenio adelante? 720

El que es pobre, ese es tenido
por sinple, el rico por sabio.
No ay en el nazer agrabio,
por notable que aya sido,

que el dinero no le encubra ; 725

iii ay falta en naturaleza,
que con la niucha pobreza
HO se aumente y se descubra.
Desde oy quiero enamorar
a Finea.
Pedro. He sospechado

que a vn yngenio tan cerrado,
no ay puerta por donde entrar.
Laurcncio. Yo se qual.
Pedro. Yo no, por Dios.

Laurcncio. Clara, su boba criada.
Pedro. Sospecho que es mas tayniada 735

({ue boba.
Laurcncio. Demos los dos

en enamorarlas.
Pedro. Creo

que Clara sera terzera
mas facil.

30

\t\A A( TO I'hlMEliO

Laitnncio. l">''^<ii niaiu'va.

scfxuro va mi dcssco.

740

750

* \S(ihiaii ] Fiui (I II Clitni
I', (ho. Kllas vii'iu'M ; disiiiiula.

Launncio. Si pufdc scr m mi maiio.
Ptdro. ; l^Mu' lia dc i»od<'r vii crisliano

riiamm-ar viia inula I
l.(iiir< iicio. Linda cara y lallc tifue. '

I'tdro. i Asi fucra tl alma !

iMitrnicio. Agora

coiiozA'o, hennosa scfiora,

(jiie no solameiite vii'iie

A sol de las orientales

partes, pm-s dc vucstros ojos

sale con I'ayos mas rojos,

y Inzes jiiramidales.

Pero si, (|uando salis,

tan grande fuerza traheys,

al mediodia i que hareys ?
Finra. Comer, eonio vos dezis,

no piraniides ni peros,

sino eosas probechosas.
Laurcncio. Esas estrellas hermosas,

esos uoctiirnos hizeros '^"

me tienen fuera de mi.
Finca. Si vos andays con estrellas,

I que mucho que os traygan ellas

arromadizado ansi ?

Acostaos sienpre tenprano, ' '''^

y dormid con tocador.
Laurcncio. ^.Xo entendeys que os tengo amor

puro, onesto, linpio y llano?
Finea. iQue es amor?

Laurcncio. ^Amor? Desseo.

Finca. ^De que?

755

LA DAM A BOB A 1(59

Laurcncio. De vna cossa eniiosa. 77o

Finea. i,Es oro? ^es diamante? jes cosa

destas que inui lindas veo?
Laurcncio. No, sino de la hermosura
de vna miiger como vos,

que, conio lo ordena Dios, 77.')

para buen fin se procura ;
y esta, que vos la teneys,
engendra desseo en mi.
Finea. Y yo ^que he de hazer aqui,

si se que vos me quereys? 780

Laurcncio. Quererme. ^No habeys oydo

que amor eon amor se paga ?
Finea. No se yo como se haga,

porque nunea yo he querido,

ni en la cartilla lo vi, 7S5

ni me lo enseno mi mad re.
Preguntarelo a mi padre . . .
Laurcncio. Esperaos, que no es ansi.
Finea. ^Pues como?

Laurcncio. Destos mis ojos

saldran vnos rayos vivos, 790

como espiritus visiuos,
de sangre y de fuego rojos,
que se entraran por los vuestros.
Finea. No, seiior ; arriedro baya

cossa en que espiritus aya. 795

Laurcncio. Son los espiritus nuestros,

que juntos se han de engender,
y causan vn dulee fuego,
con que se pierde el sosiego,
hasta que se viene a ver
el alma en la posieion,
que es el fin del cassamiento;
que con este santo yntento
justos los amores son.

*

800

8i;

*

170 .t( TO l'lil.\t 1:1:0

I)(>V(|iu' fl Jiliiia (|in' \o Iciit^o •*'^-''»

ii vurstro jx-clio sc pas.s.i.
Flitiu. ; 'riiiito pasa (|uii'ii sc cassa ?

/'iflrn. ('oil el, coiiH) OS (liiXO. Vrli<^o

tail imn'i'to poi" vut'stro amor,

(|U(' a(|iu'sta ocasion hiisinic. \ii Chtrd] ^10

('lard. ; (^)uf fs amor ? (|m' no lo sc.

Pi (Int. ;Amor.' lociira, !'iiroi\

Clara. <; I'ucs loca tciij,'o i.\r cstar?

l\(lnt. Es Vila dulcc locura,

por (|iiicii la ma\'of cordiira

siiclcn los liombrcs trocar.
Clara. Yo lo (pic mi ama liizicri',

oso liarc.
/'( <Ir<K Cien(;ia cs amoi',

que el mas riulo labi'ador

a pocos eiirsos la adqiiicre. ^-"

En conienzando a qnerer,

cnfcrma la voluntad

dc Vila diilce eiifermedad.
Clara. Xo me la mandes tener,

(pie no he teiiido en mi vida ^-^

sino solos sabauones.
Finca. Agradanme las li(^iones.

Laurcncio. Tu veras, de mi querida,

como has de queverme aqui,

que es luz del entendimiciito 830*

amor.
Finca. Lo del cassamiento

me quadra.
Laurcncio. Y me inporta a mi.

Finca. ^Pues llebarame a su cassa,

y tendrame alia tanbien?
Laurencio. Si, seiiora.

Finca. Y ^eso es bien? 835

Laurcncio. Y mui justo en quien se cassa.

*

LA DAM.l nOJiA 171

A^iestro jjadrc y viK'stra iiiadn'

cassados fueron ansi :

deso naoistes.
Finca. hYol •

Laurencio. Si.

Finea. Quando se casso mi padre, 840

^110 estaua yo alii tan poeo?
Laurencio. jAy semejante ygnoranzia !

Sospecho que esta gananzia

Camilla a bolberme loco, [aparte]
Finea. Mi padre pienso que viene. '^^•"

Laurencio. Puesvoyme: acordaos de mi.
Finea. Que me plaze. [entrcse Lanrenzio]

Clara. Fuesse.

Pedro. Si.

Y seguirle me couviene.

Tenedme en vuestra memoria. [entrese Pedro]
Clara. Si os vays i como ?

Finea. ^, Has visto, Clara, 8.50

lo que es amor ? ^ Quien pengara

tal cosa?
Clara. No ay pepitoria *

que tenga mas menudenzias

de manos, tripas y pies.
Finea. Mi padre, como lo ves, 855

anda en mil inpertinenzias.

Tratado me ha de cassar

con vn caballero yndiano.

seuillano o toledano.

Dos vezes me vino a hablar, 860

y esta postrera saco *

de vna carta vn naypeeito

mui repulido y bonito,

y luego que le miro,

medixo: "Toma, P^inea ; '^•'•^

ese es tu marido." Y fuesse.

172 Acro riiiMEiu)

Yo como en fin no siipicsso

I'sto lie I'assar (pic st-a,

tonu* el iiogro dfl niaiido, •

(|Ui' IK) t ii'iif mas (Ic cara, ^'"

ciuM-a y ropilla : mas. ("lara,

H\\w yiiporta (|U»' sea pulido

I'stc maridd, o (|uifn cs,

si todo el ciH'ipo no passa

«l(' la |)rt'tina'/ (^uc v\\ casa S"-''

niiiufiiiio sill piiTiias vcs.
*('l(ir<i. Pardit'/, (pic tit'iuvs razoii.

<,Tii'iu\slo ay?
FiiKd. Voslo aqui. Saca vn rctrato

Clara. ; lUiriia cara y cuerpo!

Fittra. Si.

Mas no passa del jubon. 880

Clara. Luego este no podra andar.

i Ay, los ojitos que tiene !
Fiuea. Senor con Nise . . .

Clara. jSi viene

a casarte?
Finca. Noaycassar;

que este que se va de aqui 885

tiene piernas, tiene traza.
Clara. Y mas, que con perro caza ;

que el mozo me muerde a mi.

* Entre Otahio con Nise
Otahio. Por la calle de Toledo

dizen que entro por la posta. 890

Nise. ^Pues como no llega ya?

Otahio. Algo por diclia acomoda.

Tenblando estoy de Finea.
Nise. Aqui esta, senor, la nobia.

Otahio. Hija, ino sabes?

Nise. No sabe; 895

que esa es su desdicha toda.

LA DAM A BOB A

173

Otabio. Ya esta eu Madrid tu marido.

Finea. Sienpre tu memoria es poca:

b no me le diste en vn naype ?
Otahio. Esa es la figura sola,

que estaua en el retratado ;

que lo viuo viene agora.

* Celia entre

Celia. Aqui esta el senor Lisseo,

apeado de vnas post as.
Otabio. Mira, Finea, que estes

mui prudente, y mui senora.

Llegad sillas y almohadas.

* [Salgan] Lissco, Turin y criados
Lisco. Esta licencia se toma

quien viene a ser hi jo vuestro.
Otabio. Y quien viene a darnos onrra. •

Lisco. Agora seiior, deeidme ;

I, quien es de las dos mi esposa ?
Finea. Yo: ^no lo ve?

Lisco. Bien merezco

los brazos.
Finea. &Luego no inporta?

Otabio. Bien le puedes abrazar.

Finea. Clara ...

Clara. ^ Senora ?

Finea. Ann agora

biene con piernas y pies.
Clara. Esto ^ es burla o xerigonza ?

Finea. El verle de medio arriba

me daba mayor eongoxa.
Otabio. Abrazad vuestra cuiiada.

Lisco. No fue la fama engaiiosa.

que hablaua en vuestra hermosuru.
Nise. Soy mui vuestra servidora.

000

905

910

915

920

17*

Acio i'i:iMi:i:i)

IJS( It.

Fi III (I.

Dfnhin.

Liaco.
Turin.
Lisi 0.
Otabio.
TAsco.

FiiKd.

Nisc.

Finca.

Nise.

Lisco.

Tnriu.

Lisco.

Finca.
Turin.

Otabio.

Liseo.
Otabio.

liO (|iit' fs el ('iit<ii(liinii'iitt>.
a tcxl.i l"iS|)nrm allKUola.
La (liiiiiia Nisc us Hainan ;
soys (list'iTta conio liciMiiosa,
y lnTiiiosa COM niiK'lio est fciiio.
; |*ut's coino i-c(|ui('l)ra a fsoli'a,
si viciif a scr mi inarido ?
l No I's mas n('(;io ? . . .

('alia. loca.
Sfiitaos, liijos, por mi vida.
Turin . . .

l Scfior ?

Tiinda loiita.
;, L'oiiio Vfiiis lU'l t-amiiio .'
Con los desseos enoja ;
<int' sienprc le liazcii mas largo.
Esc inaelio dc la noria
pudicrays liabcr pcdido,
(pic anda eomo vna ])ci-sona.
Calla, hcrmana.

Callad vos.
Aiinqne herinosa y virtuosa,
es Finea destc humor.
Turin, /, traxiste las joyas?
No ha llegado nuestra gente.
i Que de olvidos se perdonan
en vn eamino a criados !
^ Joyas trahcys?

Y Ic sobra
dc las joyas cl prineipio,
tanto el jo se le acomoda. [aparte]
Calor traheys. ^, Qiiereys algo? ,
( Que OS aflixe ? i, Que os congoxa ?
Agua (juisiera pedir.
Haraos mal el agua sola.
Traygan vna eaxa.

92.1

WM)

935

940

945

950*

LA DAM A BOB A

^''>"''- A fee, 9.",

que si como viene agora

fuera el sabado passado,

que hizimos, yo y esa iiioza,

vn menudo ... <

Otahio. Calla, nezia.

Finea. Mucha especia, linda cossa. mo

* Entren con agua, toulla, salba ij inia cura. *
Celia. El agua esta aqui.

Otahio. Corned.

Liseo. El verla, senor, proboca,

porque eon su risa dize

* que la beba, y que no coma. Beba.

Finea. El bebe como vna mula. 96.5

Turin. Buen requiebro. [aparte]

Otahio. iQueenfadosa

que estas oy ! Calla, si quieres.
Finea. Aun no habeys dexado gota.

Esperad : os linpiare.
Otahio. Pues itu le linpias?

Finea. ^. Que ynporta ? 9'0

Liseo. Media barba me ha quitado;

lindamente me enamora. [aparte]
Otahio. Que descanseys es razon.

Quiero, pues no se reporta,

llebarle de aqui a Finea. ^'-i

Liseo. Tarde el descanso se cobra,

que en tal desdioha se pierde. [aparte]
Otahio. Aora bien : entrad vosotras,

y aderezad su apossento.
Finea. Mi cama pienso que sobra 9'^<^

para los dos.
Nise. ^Tu no ves

que no estan echas las bodas?
Finea. Pues ^que yni)orta?

I7ii

ACTd i'i;i.\ii:i:(>

\ist .

\'(ii coiimigo.

Finva.

l,\\\n .

lent i-o?

Xisr.

Si.

Fiiu a.

Adios. ;()la!

Lisro.

Las (If

1 mar <1

t' mi 1

ilcstlii'lia

n\v aiu'fj:aii cut re sus oiidas. {dixtrlc]
Otabio. Yo tanbicn, liijo. me voy,

para pi'chciiii' las cosas,

(|Uf para qxw os dcsposcys

con mas ai)lauso uw tocaii.

Dios OS guarde.
Lisio. No se yo

de que manera disponga

mi desbentura. j Ay de mi I [apartc]

985

900

Turin.
Lisco.

Turin.

Lisco.

Turin.
Lisco.

Todos sc van; qucdcn Lisco ij Turin.

jQuieres quitarte las botas?
No, Turin, sino la vida.
I Ay boba tan espantosa ?
Lastima me ha dado a mi,
considerando que ponga
en vn euerpo tan hermoso
el eielo vn alma tan loca.
Aunque estubiera cassado
por poder en causa propia,
me pudiera descassar.
La ley es liana y notoria,
pues coneertando muger
con sentido, me desposan
con vna bestia del canpo,
con vna villana tosca.
Luego is no te cassaras ?
; ]\Ial aya la hazienda toda
que con tal pension se adquiere,
que con tal censo se toma !
Demas que aquesta muger,

91)5

1000

1005

1010

LA DAM A BOB A

177

si bien es honnosa y moza,
^que puede parir de ini,
sino tigres, leones y onzas?

Turin. Eso es engano; que vemos

por esperieiujias y liistorias
mil hijos de padres sabios,
que de neeios los desonrran.

Liseo. Verdad es que Ciceron

tubo a ]\Iareo Tulio en Roma,
que era vn caballo, vn eamello.

Turin. De la misma suerte consta

que de neeios padres suele
salir vna fenis sola.

Liseo. Turin, por lo general,

y es consequenzia forzosa,
lo semejante se engendra.
Oy la palabra se ronpa,
rasganse cartas y firmas;
que ningun tesoro conpra
la libertad. Aun, si fuera
Nise . . .

Turin. ; 0 que bien te reportas!

Dizen que si a vn lionbre ayrado,
que eolerico se arroja,
le pusiessen vn espejo,
en miraudo en el la sonbra
que representa su cara,
se tienpla y desapasiona.
Assi tu, como tu gusto
miraste en su hermana hermosa,
— que el gusto es cara del alma,
pues su libertad se nonbra —
luego tenplaste la tuya.

Liseo. Bien dizes, porque ella sola

el enojo de su padre,
que, como ves, me alborota,
me puede quitar, Turin.

ioir>

I02n

1025

1080

103.3

1040

1045

178

.ICTO I'L'lMFIi'O

Turin. ," ^I'lir no n\ t|iii' tr;it;if ilc csoli-n?

Listo. ," I'llrs he (Ic (It'X.ir 1,1 \ idii

por la iiiiiiTtc tfiiii'i'osa,
y por la noclic ciiliitaiia
rl sol (|iif los ciflos (loi'a,
por los aspidcs las avrs,
por las I'spiiias las i-osas,
y poi- VII (Iciiionio vii an}2:('l?

Turin. Hiiro (|Ut' I'azoii \v sohra :

(|iic IK) t'sfa el ^^iislo fii el oro;
(|iii' son el oi'o y las oras
iiiui (lihcrsas.

hisi o. Dt'sdc a({ui

rcnunzio la dania boha.
F})\ (III j)rnii( ri) uvto di hi Duina holxi

jur.ii

10;")

1()()()

LA D.LM.t HO HA 17,,

SEGUNDO ACTO 1)E LA DA.MA I'.oi'.A

PERSONAS DEL SEGfNn(J ACTo

Diiardo

Laureiizio

Feniso

Lisseo

Nisse

Celia

Clara

Finea

Pedro

Turin

Otauio

Vn maestro de danzar

Rubrica de Lope de Vega

AcTO Segi'xdo
Duardo, Lauroicio, Feniso

Feniso. En fin ha passado vn nies,

y no se cassa Lisseo.
Duardo. No sienpre muebe el desseo lf"''>

el eodizioso ynteres.
Laurcncio. De Nise la enfermedad

ha sido causa bastante.
Feniso. Ver a Finea ignoi-ante

tenplara su voluntad. 1070

Laurcncio. Menos lo esta que solia.

Temo que amor ha de ser

artifieioso a enzender

piedra tan elada y fria.
Duardo. Tales milagros ha lieclio lf"-J

en gente rustica anioi-.

1080

ISO .ICTO ShaiMH)

Ft niso. Xo sf triidra por iiiciioi'

(liir iiliiiM a sii nitlo pcclio.
Liiuri tuiti. Amor, scnon's. Iia sido

a(|Ut'l in^'fiiio iiroliiiulo.

(liic Hainan alma d*-! miiiuio,

y I'S ("1 (lotor ([Uc ha Iciiido •

la cativtla lU' las ijienrias, •

poniiit' solo con amor

aprt'iule el hoiibri' mcxor ^^^^^

sus diiiinas difcrciizias.

Assi lo sintio Platoii; •

osto Aristoteles dijo.

que conio del eielo es hijo,

es todo conttiiplazion. 1090*

(El desseo de saber,

que es al honbre uatural,

enseiia eou fuerza ygual)

Delia nazio el admirarse,

y de admirarse nazio

el lilosophar que dio

luz con (jue pudo fundarse

toda eieneia artificial. ^^^^

Y a amor se ha de agradezer

que el desseo de saber

es al liombre natural.

Amor con fuerza suaue

dio al honbre el saber sentir, H^O

dio leyes para viuir,

politico, honesto y graue.

Amor republicas hizo ;

que la concordia nazio

de amor, con que a ser boluio ^^^^

lo que la guerra desizo.

Amor dio lengua a las aves,

vistio la tierra de frutos,

y come prados enxutos,

*

■ LA DAM A BOB A

ronpio el mar con fuertes naues.

Amor enseiio a escriuir

altos y dulses conoetos,

como de su causa effctos ;

amor enseiio a vestir

al mas rndo, al mas grosero ;

de la eleganzia fue amor

el maestro, el ynbentor

fue de los versos primero ;

la musica se le debe,

y la pintura; pues, ^(piien

dexara de saber bien,

como sus effetos pruebe ?

No dudo de que a Finea,

como ella comienze a amar,

la dexe amor de enseiiar,

por ymposible que sea.

Feniso. Esta bien pensado ansi,

.y su padre lleba yntento
por dicha en el eassamiento
que ame y sepa.

Duardo. Y yo de aqui,

ynfamando amores locos,
en linpio vengo a sacar,
que pocos deben de amar
en lugar que saben pocos.

Feniso. ; Linda malieia !

Laurencio. Estremada.

Feniso. Difieil cosa es saber.

Laurencio. Si; pero facil creber

que sabe el que poco o nada.

Feniso. ; Que diuino entendimionto

tiene Nise !

Duardo. Qelestial.

Feniso. ^ Como, siendo neeio el mal,

ha tenido atreuimiento

181

liiu

in;

1120

1125

1130

1135

1140

IS-J .iCTO SICdlSlK)

|>;ir;i li;i/.rrlc cstos ;i^i'iil)i()s.

ill' till yii^fiiit) tlfsprciMos ?
Laiirouio. I't)i't|iic •!<' sutVii- a ihmmos Tin

siiclt'ii I'lircfiiiiir los sahios.
IhttndiK I'illa \ iciit'.

Ft iiisd. \ coil I'a/.oii

si' alf^n-a (|uaiil() la niira.

* \S(il(/(ui] Xisf ji ('tJiti

Nis(\ .Muclio la liistoi'ia mi' aiiiiiii'a. \(i Cdui]

(\Iia. Aniorrs piciiso (iiic son, l^^'^O

t'uiiilailos I'll el il iiici'o.
A'/.s'c. Nuiiea lundo su ])aloi'

so])n' (lincros amor.

qui' husca el alma pfiiin'ro.
Diiardo. Si'fiora, a vucstra salmi H'"**''

oy quantas cosas os veil

dan alegre parabioii,

y tienen vida y qnietiid ;

(lue t'Oino vuestra viiiiid

era el sol (jue se la dio, H^''^

mientras el nial le eclipso,

tanbien lo estuuieron ellas;

que hasta ver vuestras estrellas

fortuna el tiempo corrio. *

]\ras como la prima vera ^16)

sale con pies de marfil,

y el vario velo sntil

tiende en la verde ribera ;

corre el agua lisongera,

y estan rinendo las Acres H"*^

sobre tomar las eolorcs. *

Assi vos salis, trocando

el triste tiempo, y senbrando

en canpos de almas, amores.
Feuiso. Ya se rien estas fnentes, 1175*

LA DAM A BOB A

183

y son perlas las que fueron

lagrimas, con que sintieron

esas estrellas ausentes ;

y a las aiu's siis eoi-i-ientes

hazen instrumentos claros 1180

con que quieren celebraros.

Todo se antieipa a veros,

y todo yntenta ofrezeros

con lo que puede alegraros.

Pues si eon veros liazeys 1185

tales effetos agora,

donde no ay alma, seiiora,

mas de la que vos poneys,

en mi ^.que muestras hareys,

que senales de alegria lino

este venturoso dia,

despues de tantos enojos,

siendo vos sol de mis ojos,

siendo vos alma en la mia?
Laurencio. A estar sin vida lleg[u]o 1195

el tiempo que no os serui ;

que fue lo mas que senti.

aunque sin mi culpa fue.

Yo vuestros males pase,

como cuerpo que animals; 1200

vos mouimiento me days ;

yo soy instrumcnto vuestro,

que en mi vida y salud muestro

todo lo que vos passays.

Parabien me den a mi 1205

de la salud que ay en vos,

pues que pasamos los dos

el mismo mal en que os vi ;

solamente os offend i,

aunque la disculpa os muestro, 1210

en que este mal que fue nuestro.

1S4 ACTO SlCaiMH)

solo toiu'i'lo (k'bia,

110 vos, (|ut' soys alma iiiia ;

yo si, (|ii(' soy cuci-po vucstro.
yisi . I'ifiiso (|ii(' (if <>|)()si(;i()M 1215

iiu' (lays los tivs i)aral)ii'ii.
Laun iicio. Y cs hicii, puos lo soys por (|iiiiii

viucii los quo vuestros son.
Xisi . I )iu('i'1 ios. poi- mi \i(hi,

cortaiulomc al^'iiiias Mores 1220

los (los, ]>U('s I'oii sus colorcs
» la (lit'tTt'iizia os coiiuida

dfste jardin, porque quiero

hablar a Lauronzio vn poco.
Duanlo. Quieii ama y sufic, o es loco, 1225

0 necio.
Fcniso. Tal preinio espero.

Duardo. No son vanos mis reeelos.
Fcniso. Ella le quiere.

Duardo. Yo hare

vn ramilk'ti,' de fee,

pero seinbrado de eelos. 1230

[Entretise Feniso y Duardo]

Laurencio. Y'a se lian ydo. ^Podrej'o,

Xise, con mis brazos darte

parabien de tu salud?
Xise. Desbia, fingido, facil,

lisongero, engaiiador, 1235

loco, inconstante, mudable

honbre, que en vn raes de ausencia,

— que bien mereze llamarse

ausenzia la enfermedad — :

el pensamiento mudaste. 1240

Pero mal dixe en vn mes,

porque puedes disculparte

eon que creliiste mi muerte,

LA DAM A BOB A

18:

y si mi muerte pensaste,

con graeioso sentimiento 1245

pagaste el amor que sabes.

miidando el tin'o en Finea.
Lmirendo. ^Quedizes?
^^^se. Pero bien liazes :

tu eres pobre, tn disereto,

ella riea y ygnorante; 1250

buseaste lo que no tienes,

y lo que tienes dexaste.

Diserezion tienes, y en mi

la que celebrauas antes

dexas con muclia razon ; 12;')5

que dos yngenios yguales

no conozen superior.

Y ^por dicha, ymaginaste

que quisiera yo el ynperio

que a los honbres debe darse? 1260

El oro que no tenias,

tenerle solicitaste

enamorando a Finea.
Lmircncio. Eseucha.

Nise. iQue he de escucharte?

Laurencio. i Quien te ha dicho que yo he sido 1265

en vn mes tan ineonstante?
Nise. I Parezete poco vn mes ?

Yo te disculpo, no hables ;

que la luna esta en el eielo

sin intereses mortales, l-"'"*

y en vn mes, y aun algo menos,

esta creziente y menguante.

Tu en la tierra, y de Madrid,

donde ay tantos vendabales *

de ynteresses en los honbres, l-'">

no fue milagro mudarte.

Dile, Celia, lo que has visto.

iS'5 .icro si:<;r.\iH)

(\li<i. \a. hanii'ii/.it). no tc fsitaiitcs,

(If <|nr Nisc. mi senora,

tlcsta iiiaiHTa tc t rate. l-*^'^

Yo sc (|iic has (liclio a l-'iiwa

r('(|ui('l)ros.
Ltiutu iuio. i •^v*!"' "I'' Ifliaiilfs,

(\'lia. talrs tcstinionios !
Cilia. 'Vu salx's (luc son vcrdailcs;

y no solo 1u a mi (iucno ^^^^

yngralamciilc jiagaste,

pero tu i\'ilro, el que ticno

do tns secret OS las llabes,

ama a Clai'a lici-namcntc.

/, Quieres que mas te declare? ^^^^

L(iiir()>cio. Tns eelos lian sido, (^('Via,

y ciuieres que yo los pag [ u ] e.

l Pedro a Clara, aquella bo])a ?
Xisc. Laurenzio, si le euseuaste,

l por que te af reiitas de aquello ^^^^

en que de ciego no caes ?

Astrologo me parezes ;

(jue sienpre de agenos males,

sin reparar en los suyos,

largos pronostieos hazen. ^^^^

i Que bien enpleas tu ingenio !

"De Nise confieso el talle,

mas no es solo el esterior

el que obliga a los que saben.

; 0 quien os oyera juntos ! 1^05

Debeys de hablar en romanzes,

porque vn discreto y vn neeio ^

(hablando son-sonantes

al fin? tendreys correspondenzia)

no pueden ser consonantes.

i Ay, Laurencio, que buen pago

de fee v amor tan notable ! '^^'^^

LA DAM A BOB A

187

Bien dizen, que a los amigos
prueba la cama y la carzel.
Yo enferme de mis tristozas,
y (Ic no verte iii liablai-te,
sangraronme muclias vezes.
i Bien ine alegraste la sangre !
Por regalos tuyos tube
mudanzas, trayciones, fraudes,
pero, pues tan duros fueron,
di que me diste diamantes.
Aora bien : esto cesso.

Laurencio. Oye, agiiarda.

^^ise. ^ Que te aguarde ?

Pretende tu rica boba,
aunque yo hare que se casse
mas presto que tu lo piensas.

Laurencio. Senora . . .

131;

1320

1325

* E litre Liseo, y asga Laurenzio a Nisse

Liseo. Esperaua tarde

los dessengaiios ; mas ya

no quiere amor que me engaiie. [aparte]
Nise. I Suelta !

Laurencio. No quiero.

Liseo. ^Que es esto?

Nise. Dize Laurenzio que rasg[u]e

vnos versos que me dio

de cierta dama ynorante,

y yo digo que no quiero.
Laurencio. Tu podra ser que lo alcanzes

de Nisse. Ruegalo tu.
Liseo. Si algo tengo que rogarte,

haz algo por mis memorias,

y rasga lo que tu sabes.
Nise. Dexadme los dos. [Vaijansc Nise y Cclia]

Laurencio. i Qnf^" ayrada !

1330

133.3

188 ACTO SEaiWDO

Lisco. Yo mo cspnnto quo to trato 1'^'*^

con ostos rigores Nisso.
Laurcficio. I'ucs. Lisseo, no Ic cspantt's:

quo es dofcto en los (liscrctos

tal vcz t'l no sor atablcs.
Liseo. iTioncs (pic liazcr?

Ijauirncio. Poco o iiada. I-^^'"'

Lisco. PiU's l)ainonos csta lanlc

por el Prailo arril>a. *

Laurcncio. N'aiiios

ilon(lc(pii('i"a (pic In inaiidt's.
Lisco. Detras do los Recoletos

qnicro hal)larte.
Laurouio. Si cl liablanne ^^^^

no cs con las Icnguas que dizcn,

sino con Icnguas que hazen,

aunque me cspanto que sea,

dcxare cauallo y pajes.
Lisco. Bicn puedcs. [Entrese]

Laurcncio. Yo voy tras ti. 1355

i Que celoso y que arrogantc !

Finea es boba, y, sin dud a,

de haberle contado, naze,

mis amores y papeles.

Ya para eonsejo es tarde ; 1-^*50

que deudas y desafios

a que los honrrados salen,

para tranpas se dilatan,

y no es bien que se dilaten. [Vayase]

* Ruhrica de Lope clc Vega

[Salgan] vn Maestro dc danzar, tj Finea. *

Maestro. i Tan presto se eansa ?

ET- cjf 1365

Y no quiero danzar mas.
Maestro. Conio no danza a conpas,
base enfadado de si.

LA DAM A BO HA

189

Finea.

Maestro.

Finea.
Maestro.
Finea.
Maestro.

Finea.

Maestro.
Finea.

Maestro.

Finea.
Maestro.

Finea.

Por poco diera de ocjicos

saltando ; enfadada vengo.

fe Soy yo urraca que audar tengo

por cassa dando salticos ?

Vii paso, otro contrai)aso,

floretas, otra floreta . . .

I Que loeura !

i Que ynperfeta
cossa, en vn hennoso vasso
poner la naturaleza
lieor de vn alma tan ruda !
Con que yo salgo de duda
que no es alma la belleza. [apart e]
Maestro . . .

I Senora mia ?
Trae maiiana vn tanboril.
Esse es instrument© vil,
aunque de muclia alegria.
Que soy mas afizionada
al cascabel, os confiesso.
Es mui de caballos esso.
Hazed vos lo que me agrada,
que no es much a rustiqueza
el trahellos en los pies.
Harto peor pienso que es
trahellos en la cabeza.
Quiero seguirle el humor, [apart e]
Yo hare lo que me mandays.
Yd danzando quando os bays.
Yo OS agradezco el fabor,
pero Uebare tras mi
mucha gente.

Vn pastelero,
vn sastre, y vn capatero
l lleban la gente tras si ?

1370

i:^7.

13S0

13S5*

1390

1395

1400

1<.»()

tCTO SHafMH)

Mdistro. No: piTo tan |mc() cllos

]Mir la callc liazifiiilo \ an

sus olVicios.
FiiH (1. ', N(» |»(i<lran,

si tiiiicrcii ?
Mdisfro. Podi'an liazfllos;

( y yo no (luicro tlanzai*.
\Fiti(a.\ I'ncs nnCntccys aijiii.
M(Ustro. No liaro,

ni I'll mi vida bolvcrc)

y yo no qiiiero daiizar.
Finm. Pucs no ontreys aqui.

M(i( siro. No hare.

Fi)ua. Xi (juicro aiular en vn ])!(',

ni (lar biu'ltas ni saltai'.
Mmstro. Xi yo cnsefiar las que sneiian

disparates atrevidos.
Finra. No ynporta ; que los raaridos

son los que mexor enseiian.
Maestro. <• Ilan visto la mentecata?
Finea. 6 Que es mentecata, villano?

Maestro. Seiiora, tened la mano.

Es vna dama que trata

eon grauedad y rigor

a quien la sirbe.
Finra. lEso es?

Maestro. Puesto que buelbe despues

eon mas blandura y amor.
Finea. }. Es eso cierto ?

Maestro. ^Pues no?

Finea. Yo os juro. aunque nunca ingrata,

que no ay mayor mentecata

en todo el mundo que yo.
Maestro. El creher es cortesia :

adios, que soy mui cortes.

140.5

1410

1415

1420

142.5

LA DAM A BOB A

191

* Vaijasc. ij cut re Clara
Clara. ^Danzaste?

Finea. ' ^Ya no lo \vs?

Persig[ii]enme todo el dia

con leer, con escriuir,

con danzar, v todo os nada ; I4:iij

solo Lanrenzio nie agrada.
Clara. ^Como te podre de^'ir

vna desgracia notable?
Finca. Hablando; porqiie no ay cosa

de decir dificnltosa 1435

a muger que viua y liable.
Clara. Dormir en dia de fiesta

I es malo ?
Finea. Picnso qne no ;

aunque si Adan se dunnio,

buena costilla le euesta. 1410

Clara. Pnes si naeio la muger

de vna dormida costilla,

qne duerma no es maranilla.
Finea. Agora vengo a entender,

solo con esa adnertenzia, 1445

porqne se andan tras nosotras

los hambres, y en vnas y otras

hazen tanta diligenzia ;

qne si aquesto no es asilla, *

deben de andar a buscar 1450

su costilla, y no ay parar

hasta topar su costilla.
Clara. Luego si para el ({ue amo

vn aiio y dos, harto bien

le diran los que le ven, 1455»

que su costilla topo.
Finca. A lo menos los cassados.

Clara. Sabia estas.

li»L' .11 TO SKGLWDO

Fiitt a. Aprciulo ya ;

<|ur iiif fiisffiji amor (Hii/a

con lit;ioiit'S dc cuidados. 14()0

('lain. l>oIuit'M(lo al ciicnto. Laurt'ii/io

iiu' (lio VII papt'l pai'a ti.

PiissciMi' a ylar. ; Ay dc mi,

(luaiito proboca el silcii/.io 1

,"\Icti cii I'l f()|to I'l pa|)t'l, l-^^'-'*

y I'oino ylaua al caiidil,

y cs la I'stopa tan sutil,

ai)i"(Midiose el ('oj)o en el. *

Cabezas ay disculpadas

quando dnerinon sin eoginos, l-i'*^'

y sucnos conio rozines,

(pie vii'iu'ii con cabezadas. *

Aponas el copo ardio.

quando, puesta en el de pies,

me chaniusque, ya lo ves. 1475

Finca. i,Y el papel?

Clara. Libre quedo,

como el santo de Paxares. *

Sobraron estos renglones

en que hallaras mas razones

que en mi cabeza aladares. 14S0*

Finea. /. Y no se podran leer?

Clara. Toma y lee.

Finca. Yo se poco.

Clara. Dios libre de vn fuego loco •

la estopa de la muger.

Entre Otahio
Otabio. Yo pienso que me canso en enseiiarla, . l^So

porque es querer labrar con bidro vn porfido ; *

ni el danzar ni el leer aprender puede,
aunque esta menos ruda que solia.

LA DAMA BOBA

W.\

Finca.

Otahio.
Finca.

Otahio.

Finca.

Otahio.

Finca.

Otahio.

Finea.

Otahio.

; 0 padre mentecato y gcncroso,
bien seas venido!

I, Conio mentecato ?
Aqiii el maestro de danzar me dixo
que era yo menteeata, y enojeme ;
mas el me respondio que este vocablo
signifieaua vna iiuiger (jue rifie,
y luego buelbe con amor notable,
y como vienes tu rinendo agora,
y has de mostrarrae amor en brebe rato,
quise tanbien llamarte mentecato.
Pues hija, no crehays a todas gentes,
ni digais esse nonbre ; que no es justo.
No lo hare mas. Mas diga, seiior padre,
^sabe leer?

I, Pues esso me preguntas ?
Tome por vida suya, y este lea.
^ Este papel ?

Si, padre.

Oye, Finea.

1490

Hit:

1.500

Lea ansi
Agradezco mucho la merzed que me has echo, aunque toda
esta noche la he passado con poco sosiego, pensando en tu lier-
mosura.

I No ay mas ?

No ay mas ; que esta mui justainente l-^O'^

quemado lo demas. j Quien te le ha dado ?

Laurenzio, aquel discreto caballero

de la academia de mi hermana Xise, *

([ue dize que me quiere con estremo.

De su ignoranzia mi desdicha temo.

Esto truxo a mi casa el ser discreta

Nise, el galan, el musico, el poeta,

el lindo, el que se precia de oloro.so,

el afeytado, el loco, y el orioso. [aparfr]

Finea.
Otahio.

Finea.

Otahio.

1.510

194 .icro si:<:r.\iH)

;ll;itc |»;iss;nlo iiwis con cstc. Mcnso? '''1"'

Fiiua. Aver, cii la cscalfra, al priincf paso

1M«' (lio \ii abra/o.
Otdhid. ; I'iii hiK'iios pasosaiida

mi polti'c honor poi- \iia y o1 ra vandal

La (liscrcta con nccios en concctos.

y la hoha en anion's con disd'ctos. l-'-"

A t'sla no ay llcharla por casti^o,

y mas, (pic lo podt-a cnlmdcr su csposo. [tipdrh \

Ilija, sabeil (pie estoy mui cnojado.

No OS (loxoys abrazar. /, Entcndcys, hija?
Fima. Si, sefior padro; y (dcrto (pio in(> ])csa, ^"'-^

aunipic mc parc/.io mui bicu cnlon/.cs.
Ofahlo. Solo viU'sti'O mai'ido ha (\v scr di^iio

dosos abrazos.

* Eutvi Turin

Turin. En tu busca vengo.

Ofahio. i, De que es la prisa tanta?

Turin. De que al eanpo

van a matarse mi seiior Lisseo l-^^O

y Laurenzio, ese hidalgo marqiiesote,

que desbaneze a Nise con sonetos.
Ofahio. iQue ynporta que los padres sean diseretos,

si les falta a los hi jos la obedienzia ?

Liseo habra entendido la inprudeneia l^^^

deste Laurenzio atreuidillo y loco,

y que sirbe a su esposa. — j Caso estraiio !

I: Por donde fueron ?
Turin. Van, si no me engaiio,

hacia los Recoletos Agustinos.
Ofahio. Pues ven tras mi. ; Que estranos 'desatinos ! l-'540

* Yajjanse Otahio jj Turin

Clara. Pareze que se ha enojado

tu padre.

LA DAM A no HA

ir>.:

^*'"^«- 6 Que pu.'.lo lia/.T?

Clara. i Por que le diste a leer

el papel ?
Finea. Ya me ha pesado.

Clara. Ya no piiedes proseguir 15 lo

la voluntad de Lauronzio.
Finca. Clara, no la diferenzio

con el dexar de viuir.
Yo no entiendo coino ha side

desde que el honbre me hablo, 15.10

porque si es que siento yo,
el me ha llebado el sentido.
Si duermo, sueiio con el,
si como, le estoy pensando,

y si bebo, estoy mirando 1555

en agua la ymagen del.
I No has visto de que manera
rauestra el espejo a quien mira
su rostro, que vna mentira

le haze forma verdadera? 1560

Pues lo mismo en vidro miro
que el cristal me representa.
Clara. A tus palabras atenta,

de tus mudanzas me admiro.

Pareze que te transformas 1365

en otra.
Finca. En otro diras.

Clara. Es maestro con quien mas

para aprender te conformas.
Finea. Con todo esso sere

obediente al padre mio; 1570

fuera de que es desbario
quebrar la palabra y fee.
Clara. Yo hare lo mismo.

Finca. No ynpidas

el camino que llebauas.

IDt) .ICTO SKdl MH)

Chird. (•, No vcs (|Ui' amr poi-cjiic anuiiuis, ^•'>"''5

y oluidart' ixtriiuc oluidas?
Finto. llarlo luc |»fssa dc aiiiallc,

pfi'o a \rr mi dafio vciigo,

auiuiiic sospcclio (juc Iciif^o

(If oliiidaniit' dt' oluidalK'. l"''^'*

* \'in/tuis(. If (iihuii J.issio ij Lann nzio. *

Lann iicin. Antes, Lissi'O, do sacar la cspada,

(luicro saber la causa (pic os oblifja.
Li.'iio. PiU's bicii si'i'j^ (pic la I'a/on os (lii,'a.

Ijiumicio. Lissco, si son ^n'los dr Finca.

niicntras no se que vuestra csposa sea, '^^^^^

bicn puedo pretender, pues fui primero.
Liseo. Disimulays, a fee dc caballero;

pues tan Icxos llebays cl pcnsaniiento

de aniar vna niuger tan inorante.
lAiunncio. Antes de que la quiera no os espante; ^5f^0

que soy tan pobre como bien nazido,

y quiero sustentarme con el dote.

Y (pie lo diga ansi, no os alborote,
pues que vos, dilatando el casamiento,

haueys dado mas fuerzas a mi yntento ; ^595

y porque, quando llegan obligadas

a desnudarse en canpo las espadas,

se ban de tratar verdades llanamente ;

que es honbre vil quien en el canpo miente.
Liseo. (Y) ^luego no quereys bien a Nise?

Laurencio. A Nise ^600*

yo no ])U('do negar que no la quise,

mas su dote seran diez mil duc^dos.

y de quarenta a diez, ya beys, van treynta.

Y pase de los diez a los quarenta.

Liseo. Siendo esso ansi, como de bos lo creo, ^^05

estad seguro que xamas Lisseo
OS quite la esperanza de Finea ;

LA DA MA BOr.A

197

Liseo.
Laurencio.

1 c, 1 ;

1020*

que aunque no es la vciitui-a de la IVa, *

sera de la ygnorante, la venture,

que asi Dios me la de, que no la quiero, l*5io

pues desde que la vi por Nise muero.
Laurencio. ^. Por Nise?

Si, por Dios.

PuL'S vuestra es Nise,

3' con la antigncdad (luc yo la quise,

yo OS do3^ sus esperanzas y faboi-es.

^lis desseos os doy, y mis amores,

mis ansias, mis serenos, mis desbelos,

mis versos, mis sospechas, y mis oelos.

Entrad con esta rnmfla, y dalde pique ;

que no liara mucho en que de vos se pique
Liseo. Aunque con cartas tripuladas jueg[u]e,

aeeto la merzed. seiior Laurt'iizio,

que yo soy rico, y conprare mi gusto.

Nise es discreta, yo no quiero el oi'o ;

hazienda tengo, su belleza adoro.
Laurencio. Hazeys mui bien, que yo, que soy tan pobre, l^^o

el oro solicito que me sobre ;

que aunque de entendimicnto lo <'s Finf*a,

yo quiero que en mi casa alhaja sea.

^No estan las escrituras de vna renta

en vn caxon de vn escritorio, y rinden i'^'^'^

aquello que se come todo el afio;

no esta vna casa principal tan tirnic

como de piedra, al fin, j'eso y ladi-illo,

y renta mil ducados a su dueno?

Pues yo hare euenta que es Finea vna cassa,

vna escritura, vn genso, y vna vina,

y serame vna I'enta con vasquifia.

Demas, que si me quiere, a mi me bast a :

que no ay mayor yngenio que ser casta.
Liseo. Yo os doy palabra de ayudaros tanto,

(pie venga a ser tan vuestra como creo.

163.3

ii;}<i

IGJO

iJtS .ICro SHCl \IH)

l.diiif IK i(>. \ yi» con Xisf hart', por Dios. Lissco,

lo (lllf Vt'lTVS.

Lisco. I'lit's (Iciiioiios las iiiaiios

(Ic ainij^os, no liiijj^itlos coi-tt'saiios,

siiio conio si I'ut'ranios ilc (Ji'ccia. 1G45*

atloiidc taiito fl ainistatl sc prccia.
Laiirrncio. Vo scit vucstro INIadcs.
Lisco. Vo Ofcstcs.

* F.uin Oldhio 1/ Turin

Otohio. /.Soil est OS ?

Turi)i. Ellos son.

Ot(ihi'). (■. V cslo cs |)('n{l('ii/ia?

Turin. Coiio/.icroii dc Icxos tn prcsscii/ia.

Olahio. ("al)all('i'os . . .

Liseo. Scnor, scays biciivciiido.

Otahio. i Qiu' hazeys a(iui ?

Lisco. Coiiio Laurcnzio lia sido

tan grande amigo inio desde (4 dia

que vine a vuestra cassa, o a la mia,

venimonos a ver el canpo solos,

tratando nuestras cossas ygualinente.
Otahio. Desa ainistad mo huelgo ostranamente.

Aqni vine a vn jardin de vn grande aiuigo,

y me holgare de que bolbays conraigo.
Lisco. Sera para los dos merzed notable.

Tjaurcncio. Vamos aconpanaros y seruiros.
Otahio. Turin, /, por ({ue razon me has enganado?

Turin. Porcine deben de haber disimulado,

y porque, en fin, las mas de las pendenzias

mueren por madurar ; que a no ser esto,

no hubiera mundo ya.
Otahio. Pnes di, i tan presto 1605

se pudo remediar?
Turin. ^Que mas remedio

de no reiiir, que estar la vida en medio?

1655

1660*

19!)

LA DAM A BOB A

* [Vauanse, y salgan] Nisc y Finea. <

Nise. De suerte te has engreydo,

• que te voy deseonoziendo.
Finea. De que eso digas me ofendo. 1G70

Yo soy la que sienpre he sido.
Nise. Yo te vi menos discreta.

Finea. Y yo mas segura a ti.

^'wc• ^.Quieu te va trocaudo ansi?

I Quien te da licion seereta ? 1675

Otra memoria es la tuya.

^. Tomaste la anaeardina? •

Finea. Ni de Ana ni Catalina

he tornado lirion suya.

Aquella que ser solia 1680

soy, porque solo e mudado
vn poco de mas cuidado.
Nise. ^No sabes que es prenda mia

Laurenzio ?
Finea. ■ Quien te enpeno

a Laurenzio?
Nise. Amor.

Finea. -A fee? 168.1

Pues yo le desenpene,
y el mismo amor me le dio.
Nise. Quitarete dos mil vidas,

boba dichosa.
Finea. No creas

que si a Laurenzio desseas, 1690

de Laurenzio te diuidas.
En mi vida supe mas
de lo que el me ha dieho a mi.
Esso se, y eso aprendi.
Nise. Mui aprobechada estas. 1695

Mas de oy mas no ha de pasarte
por el pensamiento.
Finea. ^ Quien?

iM .tcro si:<n MX)

Ms, .

I.;mrt'ii/i<).

Fill) a.

|)i/.('S liilli liirli ;

no ItollttTiis ii (|iit\;ifti'.

Ms>.

Si los ojos pusso CM ti,

qiliti'los lut'^'o.

yi III It.

(^)U<' SCM

(•OHIO 1 u (|uii'r('s.

Msi .

Fiiu'a,

tlexanu' a Laurciizio a mi;

niai'ido ticiu's.

Fintii.

Yo crco

quo no rinamos las dos.

Msr.

l^ucdatc con Dios.

Final.

Adios.

1700

1705

* Vin/dSi Xisr. ii ( tifrc Laurcnzio.

; En t|iK' eonfussion nie vco !

I Ay muger mas desdichada ?
'Todos dan en perseguirme.
Lnu)< ncio. Detente en vn ])nnto firme, '^'^^^

Fortuna veloz y ayrada,

que ya pareze (pie quieres

ayudar mi pretension.

; 0 que gallarda oeasion ! [aparte]

I Eres tu, mi bieu ?
Finca. No esperes, l"l^

Laurenzio, verme xamas.

Todos me rifien por ti.
Laurotcio. Pues ^, que te ban dicho de mi?
Finca. Esso agora lo sabras.

^ Donde esta mi pensamiento? • ^''^O

Laurcncio. iTu pensamiento?
Finea. Si.

Laurcncio. Eu ti:

porque si estuuiera en mi,

vo estuuiera mas eontento.

LA DAilA BO HA

201

Finea. ^Vesle tu?

Laurencio. Yo no, xamas.

Finea. Mi hermana me dixo aqui,

que no has de passarme a mi

por el pensamiento mas.

Por esso alia te desbia,

y no me passes por el.
Laurencio. Piensa que yo estoy en el,

y hecharme fuera querria. \ a parte]
Finea. Tras esto dize, que en mi

pusiste los ojos.
Laurencio. Dize

verdad ; no lo contradize

el alma que vine en ti.
Finea. Pues tu me has de quitar luego

los ojos que me pusiste.
lAiurencio. ^Como, si en amor consiste?
Finea. Que me los quites, te ruego,

con ese lienzo de aqui,

si yo los tengo en mis ojos.
Laurencio. Nomas: eessen los enojos.
Finea. ^No estan en mis ojos?

Laurencio. Si.

Finea. Pues linpia y quita los tuyos ;

que no han de estar en los mios.
Laurencio. ; Que graciosos desbarios!
Finea. Ponlos a Nise en los suj^os.

Laurencio. Ya te linpio eon el lienzo.
Finea. i Quitastelos ?

Laurencio. j No lo ves ?

Finea. Laurenzio, no se los des ;

que a sentir penas comienzo.

Pues mas ay ; que el padre mio
brabamente se ha enojado
del abrazo que me has dado.
Laurencio. Mas ^que ay otro desbario? [aparte]

172.J

1730

1735

1740

1745

17511

1755

:?02 ACTo si:<;r.\n()

Fiiiin. 'I'iiiiliirii nil' li' has dc (|uilar.

No lia tic I't'Tiii'iiif poi" fsto.
l.dun Hciii. ;,('()Mi() Im dc scr?
Fiiii a. Sitiido pfcsto.

; Xo sabcs (U'sabrazar?
LdUfi ncio. VA hrazo dcrcclio i\\rv. 17G0

— tit'iU'S ra/oii, ya me aciicrdo —

y af^oi'a al<;art' r| iztniici'do,

y el abrazo dcsart''.
Fintd. ;, Estoy ya dcsabi-a/ada ?

Liiitnncio. <, Xo lo vcs?

* Nis( ( nfrr

Nisc. V yo tanbit'ii. l^''*''

Finia. IIuilgonu% Nise, tan bicn,

que ya no me diras nada ;

ya Laniviirio no mv passa

jior I'l pensaniiento a nil ;

ya los ojos Ic bolui, I'^^O

pues que contigo se cassa.

En el lienzo los llebo,

y ya me ha desabrazado.
Laurencio. Tu sabras lo que lia passado

con harta risa.
Nisc. Aqui no: 1775

bamos los dos al jardin ;

que tengo bien (|n<' rinanios.
Laurencio. Donde tu (piisieres bainos.

* Vayanse Laurcnzio y Nise

Finea. Ella se le lleba en fin.

I Que es esto que me da pena I'^SO

de que se baya eon el?

Estoy por yrme tras el.

i Que es esto que me enagena

de mi propia libertad ?

LA DAM A liOIiA

2o:i

Otahio.
Finea.

Otahio.
Finea.

Otahio.
Finea.

Otahio.

Finea.

Otahio.
Finea.
Otahio.
Finea.

Otahio.

No me liallo sin Laiii-cii/.io.
Mi padre es este ; silenzio,
callad, lengua ; ojos, liahlad.

* Otahio entrc

l Adoiide esta tu esposo ?

Yo pcnsaua
qiR' lo priuKTO en viendonie que hizieras,
fuera saber de mi si te obedezeo.
Pues 5 eso a que propasito ?

I Enojado
no me dixiste aqui que era nud echo
abrazar a Laurenzio? Pues agora
que me desabrazasse le he rogado,
y el abrazo passado me ha quitado.
^ Ay cosa semejante ? Pues di, bestia,
^otra vez le abrazauas?

Que no es eso:
fue la primera vez alcado el brazo
derecho de Laurenzio aquel abrazo,
y agora lebanto, que bien me aeuerdo,
porque fuesse al rebes, el brazo yzquierdo.
Luego desabrazada estoy agora.
Quando pienso que sabe, mas ygnora.
Ello es querer hazer lo que no ({uiso
naturaleza. [aparte]

Diga, senor padre,
^como llaman aquello (jue se siente,
quando se va con otro lo que se ama?
Esse agrauio de amor celos se llama.
iQelosI

Pues jno lo ves que son sus liijos?
El padre puede dar mil regozijos,
y es mui onbre de bien; mas desdichado
en que tan raalos liijos lui criado.
Luz va tiniendo ya ])ienso; (juc bien ])ieiiso.

178.-1

1790

179.:

1800

1805

1810

*

1'04 ACTO SKdlMK)

(|iif si amor la I'liscfiasf, aprciidcria. {tipdiii]
Final. i Con (iiic sf (luila el iiial dc cclosia ? 1815*

Otahio. Con (Icsciiaiiiorai'sc, si ay afxi'ahio,

(lUf cs A I'i'iiicdio mas pnuli'iitr y sahio;

(\\\i' inifiitras ay amor lia df lialx'f cclos,

pension (pu' dii'i'on a fsti" hicu los (McIos.

I Ailondc Xisc est a .'
FiiKd. duiitoa la I'lK'nlc ^S'JO

Con Tianrcnzio sc fuc
Otahio. \ ( 'ansada cosa !

Ai)ri'nda noniiala a lial»lar sii prosa ;

dexesse do sonetos y canziones.

Alia voy a rronperlos las razoncs.

* ■ V (11/ (ISC

Finca. ^,Por (piicii en el numdo passa l'^^-"'

esto (pie passa por mi ?
l Que vi deuautes ? ^ Que vi
que assi me enciende y me abrasa ?
Qelos dize el padre mio
que son. ; Bi'aba onfcrnicdad !

1830

* Entre Laurenzio

Laurcncio. Huyendo su autoridad,

de enojarle me desbio,

aunque en parte le agradezco

que estorbasse los enojos

de Nisse. Aqui estan los ojos 1835

a cuyos rayos me ofrezco. [apartc]

Senora ...
Finea. Estoy por no liablarte.

i Como te fuiste con Nise ?
Laiirencio. No me fui porque yo quise.
Finea. Pues jpor que?

Laiirencio. Por no enojarte. 1840

LA DAM A 1:01: A

iU.-)

Finca.

Laurencio.
Fine a.

Laurencio.
Fine a.

Laurencio.

Finea.

Laurencio.

Pesame si no te veo,
y en viendote ya querria
que te fuesses, y a porfia
anda el teraor y el desseo.
Yo estoy celosa de ti ;
que ya se lo que son eelos,
que su duro nonbre j ay cielos !
me dixo mi padre aqui.
Mas tanbien me dio el remedio.
^ Qual es ?

Desenamorarme ;
porque podre sosegarme,
quitando el amor de en medio.
Pues j esse eomo ha de ser ?
El que me puso el amor
me le quitara mexor.
Vn remedio suele haber.
&Qual?

Los que vienen aqui
al remedio ayudaran.

* Entren Pedro, Duardo y Feniso

Pedro. Finea y Laurenzio estan

juntos.

Feniso. Y el fuera de si.

Laurencio. Seays los tres vien benidos
a la ocasion mas gallarda
que se me pudo ofrezer.
Y pues de los dos el alma
a sola Nise discreta
ynelina las esperanzas,
oyd lo que con Finea
para mi remedio passa.

Duardo. En esta cassa pareze,

segun por los ayres andas,
que te ha dado echizos ^'wo^e.

isi;

is.vi

1855

1860

1865

1870*

•20t\ .\rTl) SKdl.MK)

Xuiica sales ticsta cassa.
Laitit luid. Yo voy con mi |)fiisaiiiit'iito,

)ia/i(Mi(l() vii;i iic;i t ra/.ii

|iai-a lia/.iT oi-o [l^' al(|iiiiiiia. 1H~'}

I'idro. La saliitl y el ticiiipo <,'as1as.

V<:ual st'i'ia. scfior.

cansartc. juics tcido causa

(if iirctciulcr yii|»(isil)lcs.
haurcncio. ('alia, iiccid.
Vidii). HI iioiihiv hasta, 1880

para no callar xaiiias ;

(|Ut' lumca los nccios eallaii.
Jaiuiu ncio. Aguanladinc micnti'as lial)lo

a Fiiica.
Jhiardo. Parte.

Liixn )i('i(). Hablaiia,

Fiiica licnnosa, a los tres, 18S5

])ara cl reraedio que aguardas.
FiiK a. Qiiitanie presto el amor

quo eon sns eelos ine mata.
Laurcncio. Si dizes delante destos

eomo ine das la palabra iSftO

de ser mi esposa y muger,

todos los eelos se acaban.
Finia. i Eso no mas? Yo lo hare.

Laurcncio. Pues tn misiiia a los tres llama.
*Finea. Feniso, Diiardo, Pedro ... 1895

Los Tres. Sefiora . . .
Finea. Yo doy palabra

de ser esposa y muger

de Laurenzio.
Duardo. j Cosa estrana !

Lau re n cio. ^ Soys testigos desto ?
Los Tres. Si.

Laurcncio. Pues haz euenta que estas sana 1^00

del amor y de los eelos

que tanta pena te daban.

LA DAM. I /;(>i:a

207

Finea. Dios te lo pag[u]o, Laurcii/.io.

Lourcncio. Venid los tres a mi casa :
que tengo vn notario a Hi.

Feniso. Pues ^con Finea tc cassas?

Laurencio. Si, P'eniso.
Feniso. ^.Y Nise bella?

Laurencio. Troqiie discrezion jioi- plata.

lf)05

Nise.
Otahio.

Nise.

Otahio.

Nise.

Finea.

Otahio.

[Vayanse Laurenzio, Feniso, DiKirdo i; I'airo, y]

quede Finea solu, y entren Nise y Otahio
Hablando estaua con el
cossas de poca inportanzia.
Mira, hija, que estas cosas
mas desonor que onor causau.
Es vn onesto maneebo
que de buenas letras trata,
y tengole por maestro.
No era tan bianco en Granada
Juan Latino, que la hija
de vn Beyntiquatro enseiiaua ;
y siendo negro y esclauo,
porque fue su madre esclaua
del claro duque de Seso,
honor de Espafia y de Ytalia,
se vino a cassar con ella :
que gramatica estudiaua,
y la enseiio a conjugar
en llegando al amo, amas;
que asi llama el matrimonio
el latin.

Deso me guarda
ser tu hija.

; ]\rurmurays
de mis cosas ?

^Aqui estaua
esta loca ?

1010

li>15

]920

I'.IJ-)

1030

208 ACTO SKI;LMH)

Fliii (I. \ A iu> fs 1 ii'iiipo

(If rcfiii-mf.
Otahio. ; (^w'u-w \v liahla?

,: (,^)iiit'ii tf rifir ?
Final. Xisc y tu.

I'lics st'paii (|iic a^ofa a<'al)a

(Ic (|uitai'iiii' el aiiiof 1()(1() ^\y^^^

]iauiTii/.i(), coiiio la paliiia.
Otohio. Ay al^una Itolx'i'ia. Idparfc]

Fin(<i. Dixoinc (|U(' sc (luilaiia

el amor cdii (|Uf Ic dicso

de su iniiger la palabra, ^^-^0

y dolanto do tcstij^os

se la lio dado, y estoy saiia

del amor y dc los eelos.
Otabio. Esto es oosa temeraria.

Esta, Nise, lia do qnitarmc 1945

la vida.
Nise. ^, Palabra (la))as

de muger a iiingun onbre?

f, No sabes que estas eassada?
Finea. Para quitarme el amor

I que ynporta ?
Otahio. No entre en mi easa 1^50

Laureiizio mas.
Nise. Es error,

porque Laurenzio la engafia ;

que el y Liseo lo dizen

no mas de para ensefiarla.
Otabio. Desa manera yo eallo. 19^5

Finea. \ 0 ! pues con esso nos tapa

la boca . . .
Otabio. Yente eonmigo.

Finea. ^ Adonde?

Otabio. Donde te aguarda

vu notario.

LA T)JMA HO J! A 209

Finea. Baiiios.

Otdbio. \vn.

iQne deseanso de mis caiuisl {(tiuirtc] 19(50

* [Vaiianse Otahio y Fin<(i]

Nisc sola
Nisc. Hanie coiitado Lanrenzio

que han tornado aquesta traza

Lisseo y el, j)ara ver

si aquella riideza labran,

y no me pareze mal. 1965

* Lisseo cntre

Liseo. I Hate eontado mis ansias

Lanrenzio, discreta Nise?
Nise. [. Que me dizes ? ^ Suefias o liablas ?

Lisco. Palabra me dio Lanrenzio

de ayndar mis esperanzas, 19"0

viendo qne las pongo en ti.
Nise. Picnso qne de hablar te eansas

con tu espossa, o qne se en])ota

en la dureza qne labras

el enehillo de tn gnsto, 1971

y para bolber a liablaila,

qnieres darle vu filo en mi. •

Lisco. Verdades son las (|ne trata

eontigo mi amor, no bnrlas.
Nise. I Estas loco ?

Liseo. Qnien pensana ^"'"'

cassarse con qnien lo ei-a,

de pensarlo ha dado cansa ;

yo he mndado pensamiento.
Nise. i Qne necedad, qne ynconstanzia,

qne locura, error, trayzion ^•''^'*

a mi padre, y a m\ henna ua I

Yd en bneii ora. Lisseo.

210 .i( TO si:<;iM)()

I.isco. I Dtsii iiiiuu'ra mo papas

tan (Icsatiiiado amor?
yisc. Tiles si fs (|f,s;it ino, Itiist.i. J^'^'^

* F.itlvt 1.(11(1- (It; in

LdKiu iicio. Ilabliiiido fstaii los tlos solos.

Si Lisi'o sc (ii'clara,

Nisc lia i\{' saber laiil)ien

que mis lisoujas la I'ligafiaii.

Creo (jue me ha visto ya. {(ipdiic]
Nisc. jO florin de mi esperaii/a I

199c

* yis( (liz( como que hahhi con Lisseo

Lisro. i Yo vuesti-a gloria, senora?

Nisc. Annque dizeii (jue me tratas

eon trayzion, yo no lo creo ;

que no lo consiente el alma. 2000

Lisco. j Trayzion, Nise? Si en mi vida

mostrare amor a tu hermana,

me mate vn rayo del cielo.
Laiircncio. Es conmigo con quien habla

Nise, y presume Liseo 2005

que le requiebra y regala. \aparte]
Nise. Quierome quitar de aqui,

que eon tal fuerza me engana

amor, que dire locuras.
Lisco. No OS bays, ; 0 Nise gallarda ! 20lo

que despues de los fabores

quedara sin vida el alma.
Nisc. Dexadme passar . . . \Entrcsc Nise]

Lisco. I Aqui

estaiias a mis espaldas?
Laurcncio. Agora entre.
Liseo. Luego a ti 2015

te hablaua, y te requebraua,

aiinque me miraua a mi

aquella discreta yngrata.

LA DAM A BO HA

Laurencio. No teiigas pciia : las piedras
ablanda el eurso del agua.
Yo sabre ha/er que esta noehe
puedas en mi noiibre hablarla.
Esta es discreta, Lisseo ;
no podras, si no la enganas,
quitalla del pensamiento
el ynposible que aguarda ;
porque yo soy de Finea.

Liseo. Si mi reniedio no trazas,

cuentame loco de amor.

Laurencio. Dexame el remedio, y calla ;
porque burlar vn discrete,
es la vitoria mas alta.
Fin del segunclo acta de la Duma hoha
Biihrica de Lope de Vega

2020

202;1

2030

icro TEliCEliO

TKKCKKO ACro |)K LA DA.MA 1U)HA
h'lihricd (li L(ip( (]( V' !l(i

LOS 1^)11: iiAiu.AX i;n i:l tkiv'cku'o acto

I' llirjl

Clara

Nis»"

liisoo

IVdro

Laurcii/.io

Turin

Missono

Duardo

Fenisso

(>lia

Otabio

Los Musieos

Riihrica dc Lope (h Vega

ACTO TERCERO

Fill CO sola

Finca] ; Ainor, diiiina innenzion
<](' eonseniar la ])('ll('za
(If iiuestra luitnraleza,
0 accidente, o eleccion !
Estranos effetos son
los (|ne de tn eiencia nazcji,
plies las tinieblas desazen,
pues hazen hablar los miidos,
piles los iiigenios mas rudos
sabios y discretos hazen.
Xo lia dos messes fine viiiia

20.35

2040

. LA DAM A BOB A 213

a las bestias tan ygual,

que aun el alma razional :i<i4.",

pareze que no tenia.

Con el animal sentia,

y crezia con la planta ;

la razon diuina y santa

estaua eelipsada en mi, 2050

hasta que en tus rayos vi,

a euyo sol se lebanta.

Tu desataste y ronpiste

la eseuridad de mi ingenio,

tu fuiste el diuino genio 2055

que me enseiiaste, y me diste

la luz con que me pusiste

el nuebo ser en que estoy.

Mil gracias, amor, te doy,

pues me enspfiaste tan bien, 2060

que dizen quantos me ven

que tan diferente soy.

A pura ymaginazion

de la fuerza de vn desseo,

en los palaeios me veo 2065

de la diuina razon.

i Tanto la contenplazion

de vn bien pudo lebantarme !

Ya puedes del grado onrrarme,

dandome a Laurenzio, amor, 2070

con quien pudiste mexor

enamorada ensenarme.

* [Saiga] Clara

Clara. En grande co[n]uersa(;ion

estan de tu entendimiento.
Fuiea. Huelgome que este contento 2075

mi padre en esta ocasion.
Clara. Hablando esta con Miseno

2{m

J 14 K T() ri:i;(i:i;i)

(Ic como let's, csi'iMiU's

y (lan/iis ; di/e (nic viiu's

con ot r;i ;iliii;i rii cihtik) iiir<'iio.

Alribwyt'lc ill amor

(Ic liissco cstc niilji^ro.
Fliua. \']\\ ot fas ai'as coiisaj^ro

mis liotos, ( 'lai'a. iiicxoi-.

ijaiir«'ii/io lia sido rl iiiacslro. 2085

Clara. Como Pcdi'O lo fur iiiio.

Finco. \)i' vtM'los liablai' me rio

cii cslc iiiilat^i'o iiut'sh'o.

(Ji'an I'ut'iv.a ticiu' el amor,

calrt'datico diuino. 2000*

* \S!ahjan]Misc)io y Otauio
Misom. Vo piiMiso que es el eamino

dc su reniedio iiiexor.

Y ya. jmcs liai)eys llegado

a ver eon eiiteiidimiento

a Finea, que es coiitento 2095

luinca de vos esperado,

a Nise podeys eassar

con este niozo gallardo.
Otahio. Vos solamente a Duardo *

pudierades abonar. 2100

Mozuelo me parezia

destos que se desbanezen,

a quien agora enloquezen

la arroganzia y la poesia.

No son graeias de niarido 2105

sonetos; Nise es tentada

de academica endiosada *

que a casa los ha trahido.

[. Quien le mete a vna muger

con Petrarca y Garcilaso, 2110*

siendo su Virgilio y Taso

*

LA DAM A BOB A

2i;

Miseno.

Otdbio.

Miseno.

Otahio.

ylar, lalji'ai- y eoser?

Ayer sus librillos vi,

papeles y escritos varios;

peiise que debozionarios,

y clesta suerte lelii :

Historia de dos amantes,

sacada de lengua griega;

Kimas de Lope de Vega,

Galatea de Qerbantes,

el Camoes de Lisboa,

los Pastores de Belen,

Comedias de don Guillen

de Castro, Liras de Ochoa,

Canzion que Luis Velez dijo

en la Academia del duque

de Pastrana, Obras de Luque,

Cartas de don Juan de Arguijo,

cien Sonetos de Linan,

Obras de Herrera el diuino,

el Libro del Peregrino,

y el Picaro de Aleman.

Mas que os canso, por mi vida ;

que se los quise quemar.

Cassalda, y vereysla estar

ocupada y diuertida

en el parir y el criar.

i Que gentiles debociones !

Si Duardo haze canziones,

bien los podemos cassar.

Es poeta caballero;

no teniays : hara por gusto

versos.

Con mucho disgusto
los de Nise considero.
Temo, y en razon lo fundo,
si en esto da, que ha de haber

2115

2120*

*

2125*

*
2130*

*

2135

2140

2145

215(1

oi,j .UTO TKh'CKL'O

VM lion Quixote inu^t'i*

qiit' tit' (pit' rt'vt' al iiiwiulo.
* F.ii(nn l.issi (> !i i\is( | // Turin]
Aiayo. Trjitasiiif cmi lal (Ifsdrn.

iHii' pii'Mso (|iic III' (If api'lar

adtMidt' s('|)aii tralnr

mis ()l)li>j:a/.ioiii's hicii.

Put's aduit'rtt'. Xisc hclla,

(Hie KiiH-a ya cs sa^rado ;

(|Ui' VII amor tan dt'sdt'fiado -^■'•''

init'dt' liallar i-ciiifdio cii clia.

Tu tli'sdt'u (|iu' yina^'iiic

([lie pudiera sor mciior,

creze al passo tic mi amor,

iiu'tlra al lado de mi fee. 2160

Y su eorto entendiiiiicnto

ha llejrado a tal miulaiiza,

i[\U' put'de tlar cspcran/.a

a mi loco pensainiento.

Plies, Nise, tratame bien, ^^^^

o de Finea el fabor

sera sala, en que mi amor *

apele de tu desden.
Nise. Lisseo, el hazerme fieros

fuera bien considerado, ^^"^

quando yo te hubiera amado.
Liseo. Los nobles y caballeros

como yo se ban de estimar,

no lo yndigno de querer.
Nise. El amor se ha de tener 2175

adonde se puede hallar ;

que como no es eleccion, • ^

sino solo vn accidente,

tienese donde se siente,

no donde fuera razon. 2180

El amor no es calidad,

LA DAMA BOBA

21'

sino estrellas que coneicrtan

las voluntades que aciertau

a ser vna voluntad.
Liseo. Esso, senoi-a, no es justo,

y no lo digo con zelos ;

que pongaj^s culpa a los eielos

de la baxeza del gusto.

A lo que se haze mal,

no cs hien dezir: "fue mi estrella."
Nise. Yo no pongo culpa en ella,

ni en el curso celestial,

porque Laurenzio es vn hombre

tan hidalgo y caballero

que puede honrrar ...
Liseo. Paso.

Nise. Quiero

que reberencieys su nombre.
Liseo. A no estar tan cerca Otabio . . .

Otahio. i 0 Liseo!

Liseo. i 0 mi senor !

Nise. j Que se ha de tener amor

por fuerza, notable agrabio! [apart e]

2185

2190

2195

2200

* Entre Qelia

Celia. El maestro de danzar

a las dos llama a lizion.

Otahio. El viene a buena ocasion.

Baya vn criado a llamar
los musicos, porque vea
Misseno a lo que ha Uegado
Finea.

Liseo. Amor, enganado,

oy bolbereys a Finea ;
que muchas vezes amor,
disfrazado en la benganza,
haze vna justa mudanza

2205

2210

1118 Hit) Tl-IUVERO

(h'stlo vii desili'ii a \ii I'alxn-. \(i})(iri(]
(Win. Los niusicds y v\ vriiiaii.

* l!iitriii Ins niiisicns

Otahio. Mui Mcii vtiiidos scays.

Lisio. (>y. ptiisaniirnlos, vciifjays 2215*

los a}j:raui()s i\\\v os lui/ian. {aparfr]
Otahii). Xisc y l-'iiica . . .

Xisc. Scfioi- . . .

[Otahii).] Uaya aqiii, \nn- vida inia,

el l)a>li' (U'l oiro (lia.
Lisco. Todo cs iiuidaii/as ainoi'. \iip(trh ] 2220*

Otuhio, Mis( HO. 11 List o se siintiu; los
musicos ('(uitfH, ij las dos
haijloi ansi:

[I]
An)or. ca)isa(]o de vrr
ianto yntercs en las danias,
1/ que por desnudo y pohrc,
ninguna fahor le daua,

passose a las Yndias, 2225

vcndio el alxaua,
que mas quiere dohlones,
que vidas y almas.
Trato en las Yndias Amor

no en joy as, sedas, y olandas, 2230

sino en ser sutil terzero
de villetes y de cartas.
Bnlhio de las Yndias
con oro y plata;

que el Amor hien vestido 2235

rinde las damas.
Passeo la Corte Amor
con mil cadenas y vandas. *

LA DAM A BOB A 219

Las (lamas, como le vian,

dcsta manera le liahJaii: 2240

^De do viene, dc do viene?
Viene de Panama —

[11]
i;De do idene el cahallero?

Viene de Panama —
Tranzelin en el sombrero, 2245*

Viene de Panama —
cadenita de oro at cucllo,

Viene de Panama —
en las hrazos el grig[u]iesco,

Viene de Panama — 2250

las ligas con rapazejos,

Viene de Panama —
qapatos al uso nuebo, *

Viene de Panama —
sotanilla a lo turquesco. 2255*

Viene de Panama —

*

*

^De do viene, de do viene f
Viene de Panama —

[III]

iDe do viene el liijo de algo?

Viene de Panama — 22(i0

Corto cuello, y puiios largos, *

Viene de Panama —
la daga en vanda colgando,

Viene de Panama —
guante de anhar adohado, 2265*

Viene de Panama —
gran jugador del vocable, *

Viene de Panama —

o.ji, ACTO TKRCEEO

no (la (iintro, if dti manos,

ViiiK (l( I'diunnd — ^'-'^

tnfadoso // »i<il iriddc:

Vinir dc Panama —
(s Amor, llamnsr Yndiano,

Vi( IK <l( I'aiuima —

I 1 I II 2275*

rs clioi^i foil nist( llano,

Vi< nr (h I'aiiama —

ni crioUo disfrazado.

Vi( lit dt Panama —

f I)( do virnr, dc do vicncf

Vicnc dc Panama — ^-^^

[IV]

jO que hicn parczc Amor
con las cadcnas y galas!
(juc solo cl dar cnamora,
porquc cs ^ifra dc las gra^ias.
Ninas, donzcllas, y viejas
van a huscarle a su casa,
mas ynportiinas que moscas,
en viendo que ay miel dc plata.
Sohre qual le ha de querer,
de viuos gelos se ahrasan,
y al rededor de su puerta
mas tras otras le cantan:

2285

2290

jDexa las auellanicas, moro!

Que yo me las vareare — *

[V]
El Amor se ha huclto godo: ^295*

Que yo me las vareare —
punos largos, cuello corto.

Que yo me las vareare —

LA DAM A BOB A

221

sotanilla, y liga de oro,

Que yo me las vareare —
sonhrero, y gapato romo,

Que yo me las vareare —
manga ancha, calzon angosto.

Que yo me las vareare —
El hahla mucho, y da poco,

Que yo me las vareare —
es viejo, y dize que es mozo,

Que yo me las vareare —
es cobarde y matamoros.

Que yo me las vareare —
Ya se descuhrio los ojos.

Que yo me las vareare —
I Amor loco, y amor loco!

Que yo me las vareare —
;Yo por vos, y vos por otro!

Que yo me las vareare —

2300

2305

2310

2315

Miseno.

Otahio.

Finea.
Otahio.

jDexa las auellanicas, moro!
Que yo me las vareare. —

; Gallardamente, por cierto !
Dad graeias al cielo, Otaiiio,
que OS satisfizo el agrauio.
Hagamos este concierto
de Duardo con Finea.
Hijas, yo tengo que hablaros.
Yo naci para agradaros.
I Quien ay que mi dicha crea ?

2320

2325

* Entrense todos, y queden alii Lisseo y Turin
Liseo. Oye, Turin . . .

Turin. i Que me quieres ?

Liseo. Quierote coinunicar

vn nuebo gusto.

222 .icTo rh:ii('Kno

Turin. Si rs d.ir

solirc tu amor iinrt'/.rrt's. -•'■^'^

hiisca VII let rado tic amor.
List'O. Vo lit' minlatlo parczci".

Turin. A scr lii'xai' tie (iiicrcr

a Xisi'. fiKTa t'l iiicxor.
Lisfo. VA mismo; |tor(|uc I'Miica "-^^"^

iiH' lia til' vcii^ar di' sii aiJcral)io.
Turin. No t«' tt'ii^ro por tan sabio.

(|n(' tal (liscrczioii Ic crca.
Li.fro. |)i' mit'lio (luifi-o tratar

mi cassainicnto ; alia voy. 2340

'Turin. Do tu parczer estoy.

Lisi t). Oy nu' tcngo de vengar.

Turin. Xunca lia dc ser ol (de) casarse

por vengarse de vn desden ;

que nunea se caso bieu 2345*

quien se easso por vengarse.

Porque es gallarda Finea,

y porque el seso cobro,

— pues de Nise no se j'o

que tan entendida sea — 2350

sera bien cassarte luego.
Lisco. Misseno ha venido aqui ;

algo tratan contra mi.
Turin. Que lo mires bien, te ruego.

Liseo. No ay mas; a pedirla voy. 2355

* [Vayasc Lissco]

Turin. El cielo tus passos guie,

y del error te desbie
en que yo por Celia estoy.
i Que enamore amor vn onbre

eomo yo ! Amor desatina. 2360

i Que vna ninf a de cozina,
para blasson de su nonbre

LA DAM A BOB A

223

ponga: "Aqiii iiuiiio Tuiin,
entre sartenes v cazos ! ' '

Laurcncio.

Pedro.

Laurcncio.
Turin.
Laurcncio.
Turin.

Laurcncio.
Turin.

Pedro.

Turin.

Laurcncio.

Turin.

Laurcncio.

Turin.

Laurcncio.

Turin.

Ljaurencio.

Turin.

Jjaurcncio.
Turin.

[SaJgan] Laurcnzio jj Pedro.

Todo es poner onbarazos,
para que uo lleg[u]e al fin.
Habla baxo, que ay escuohas.
i 0 Turin !

Senor Laui'cnzio .
^Tanta quietud y silenzio?
Ay obligaziones muchas
para callar vn discrete,
y yo mui discrete soy.
i, Que ay de Liseo ?

A eso voy :
fuese a casar.

Buen secreto.
Esta tan enamorado
de la seiiora Finea,
si no es que venganza sea
de Nise, que me ha jurado,
que luego se ha de cassar ;
y es ydo a pedirla a Otabio.
Podre yo llamarme a agrabio.
Pues fecl OS puede agrabiar?
feLas palabras suelen darse
para no cumplirlas?

No.
De no casarse la dio.
El no la quiebra en casarse.
I Corao ?

Porque el no se cassa
con la que solia ser,
sino con otra muger.
I Conio es otra ?

Poi'(|ue pasa

236.5

2370

2375

2380

2385

2390

L'L'4 A (TO 7AA'rA/;(>

(Irl IK) Slllx'l' 111 S!ll)t'I",

y «'()M saln'i" Ic obligo.

I Mandays oira t'osa ?
Lautu ncio. No.

[ 7'j/r»'/».l Tiu's atlios. \ran(is<Ti(rin] *

Laur( tu in. ("Qi"' pni-tlo liazrr?

; Av Pr.lro! Lo (Hi.' tcuii. -39;''

y tenia sosi^'chado

del yiigt'iiio (jiic ha mosti'ado

Finca sc euiiplt' a(|ui.

("oiiio la lia visto Lisseo

tan iliseiTta, la afi(;ioii 2400

lia piiesto en la discrezion.
/'( ilro. Y en el oro algun desseo.

Cansole la boberia ;

la discrezion le aniino.

* Entrc Finca

Fhua. i Clara, Laurenzio, me dio 2405

niiebas de tanta alegria !
Liiego a mi padre dexe,
y aunque ella me lo callara,
yo tengo quien me auisara,
que es el alma que te vee 2410

por mil vidros y cristales,
per donde quiera que vas,
porque en mis ojos estas
eon memorias inmortales.

Todo este grande lugar 2415

tiene colgado de espejos
mi amor, juntos y parejos,
■ para poderte mirar.

Si buelbo el rostro alii, veo

tu ymagen ; si a estotra parte, 2420

tanbien ; y ansi viene a darte

nombre de sol mi desseo;

*

LA DA MA BOB A 225

que en qnantos espejos mira
y fnentes de piira plata,

su bello rostro retrata, 2425

y su luz diuina espira.
Laurencio. jAyFinea! ; A Dios pluguiera
que uunca tu eiiteiidimiento
llegara, como ha llegado,

a la mudanza que veo ! 2430

Necio me tubo seguro,
y sospechoso discreto,
porque yo no te queria
para pedirte consejo.

I, Que libro esperaua yo 2435

de tus manos? ^, En que pleyto
hauias xamas de hazerme
ynformacion en derecho?
Ynocente te queria,

porque vna muger cordero 2440*

es tusson de su marido,
que puede traherla al pecho.
Todas habeys lo que basta ;
para cassada, a lo menos,

no ay muger nezia en el muiido, 2445

porque el no hablar no es deffeto.
Hable la dama en la rexa,
eseriua, diga concetos

en el eoche, en el estrado, *

de amor, de enganos, de celos ; 2450

pero la casada sepa
de su familia el gobierno,
porque el mas discreto hablar
no es sancto como el silenzio.
Mira el dafio que me vino 2455

de transformarse tu ingenio,
pues va a pedirte, \ ay de mi !
para su muger Lisseo.

*

22i5 ACTO TKRCERO

Va ili'xa a Xisc. tii licniiana :

el S(» cassa, yo soy mucito. -•*•'"

; Niiiica |ilt'i,'a a l)i()s lial»lai"asl
Fintd. ; Dc (iiic iiic <'ulpas, Lamcii/io?

A piira ymajjiiiaiMoii

(li'I alto iiu'rt't'iiiiiciito

(If Ills prt'iulas aprtiidi 2'<''"

t'l (|llt' til (lizfS (illc IrlPjfO.

Vov liaMartc supc lial>lar,

Vfii/.ida tit' tus i-t'tiui»'1)r()s ;

por leer en tus papclcs,

libros (liffi(;iles leo; 2470

para rcspondorte escriiio.

No lu> tt'iiitlo otro maestro

c|iie amor, amor me ha ensenado.

Tu eres la eieneia que apremlo.

iDe que te quexas de mi? 2475

Laurcuclo. De mi desdielia me (piexo.

Pero, pues ya sabes tanto,

dame, seiiora, vn remedio.
Finca. El remedio es facil.

Laiirencio. i Como ?

Fhica. Si, porque mi rudo ingenio, 2480

que todos aborrezian,

se ha transformado en discrete,

Liseo me quiere bien.

con bolber a ser tan necio

como primero le tube, 2485

me aborrezera Lisseo.
Laiirencio. i,Pues sabras fingirte boba?
Finca. Si; que lo fui mucho tiempo,

y el lugar donde se naze

saben andarle los ciegos. 2490

Demas desto, las mugeres

naturaleza tenemos

tan pronta para fingir.

LA IJAMA BOh'A 227

o con amor, o con inicdo,

que antes de nazer fingiinos. 2-i:tr,

Laurencio. ^ Antes de nazer? -
Finca. Yo pienso

que en tu vida lo has oydo.

Eseuclia.
Laurcncio. Ya escueho atento.

Finca. Quando estamos en el bientre

de nuestras madres, liazenios 2oO()

entender a nuestros padres,

para enganar sus desseos,

que somos bijos varones,

y assi veras que contentos

acuden a sus antojos 2505

con amores, con requiebros.

Y esperando el mayorazgo

tras tantos regalos hecbos,

sale vna bembra que corta

la esperanza del suceso. 2510

Segun esto, si pensaron

que era varon, y henbra vieron,

antes de nazer finginios.
Laurcncio. Es euidente argumento.

Pero yo vere si sabes 2515

hazer, Finea, tan presto

mudanza de estremos tales.
Finea. Passo ; que viene Lisseo.

Laurcncio. Alii me voy a esconder.
Finca. Ye presto.

Ijaurcncio. Sig[u]eme, Pedro. 2520

Pedro. En muchos peligros andas.

Laurcncio. Tal estoy, que no los siento.

* [Escondcnse Laurencio ij Pedro] Entre Lisseo con Turin
Liseo. En fin queda conzertado.

Turin. En fin estaua del eielo

que fuesse tu esposa.

L'2S

Alio TKli'(Klil>

2r)'_'r)

2r,30

-)35

fsla mi primrro (liirno. \(i})ar(i |
/, No sabi'vs, sffiora iiiia.
como lia tratado Missciio
cassar a Duanlo y Nissc.
y conu) y<> laiiltitii (iiiicro
(iMc St' liajran iimstras Ixxlas
COM las suyas ?
Fiuca. Nolocreo;

y\\U' Xisr lia (iiclio a mi.
(luc I'sta eassaila en sccrcto
con vos.
Liftco. ^C'oninigo?

Fima. No se,

si t'railes vos, o Oliberos.
/, Quicn sois vos?
Liiico. ^Ay lal iimdanza?

Finca. iQuien dezis? que no me aciierdo.

Y si mudanza os pareze,

^. eonio no veys que en el eielo "^'^^

eada mes ay nuebas lunas?
Lis(o. i Valgarae el eielo ! ^. Que es esto?

Turin. i- Si le buelbe el mal passado?

Finca. Puesdeeidme: si tenemos

luna nueba cada mes, -^^'^

^adonde estan? ^que se ban ecbo
las viejas de tantos aiios?
^Daysos por venzido?
Lisco. Temo

que era loeura su raal. [apart c]
Finea. Guardanlas para remiendos '^^'^^

de las que salen menguadas.
Veys ay que soys vn nezio.
Lisco. Senora, mucho me admiro

de que ayer tan alto yngenio
mostrassedes.

2570

LA DAM A BOB A 229

Finea. Pues, senor, 2555

agora ha llegado al viiestro ;

que la mayor diserezion •

es acomodarse al tiempo.
Liseo. Eso dixo el mayor sabio.

Pedro. Y esto esciicha el mayor iioeio. [escondido] 2560

Lisco. Qiiitado me habeys el gusto.

Finca. No he tocado a vos, por eierto;

mirad que se habra caydo.
Liseo. i Linda ventura tenemos !

Pidole a Otabio a Finea, 2565

y quando a dezirle vengo

el cassamiento tratado,

hallo que a su ser se ha buelto. \aparte]

Bolbed, mi senora, en vos,

considerando que os quiei-o

por mi duefio para sienpre.
Finca. iPor mi duefia, maxadero?

Liseo. ^Assi tratays vn esclauo

que OS da el ahna?
Finea. i Como es esso ?

Liseo. Que os doy el alma.

Finea. l Que es alma ?

Liseo. i Alma ? El gouierno del cuerpo.

Finea. i Como es vn alma ?

Liseo. Senora,

como filosopho puedo

difinirla, no pintarla.
Finca. ^,No es alma la que en el pesso

le pintan a san Mig[u]el ?
Liseo. Tanbien a vn angel ponemos

alas y cuerpo, y, en fin,

es vn espiritu bello.
Finca. ^Hablan las almas?

Lisco. Las almas 2585

o])ran por los instrumentos,

2575*

2580*

2M ACTO TEliCEIil)

]>or los scntidos y j)in-t('s

(If (|Ui' sc or^aiiiza cI ciicrpo.
Fiiua. ;, lion^aiii/ji rouu- v\ alma?

T'uriii. /, Km iiiif tc cansas'.'

Lisro. Xi> i>iu'ii() -•''•'"

pfiisai'. siiio (|U(' rs lociira.
Turin. INtcas vi'/rs i\r los iit'(;ios

sc lia/.»'M los locos, scfior.
l.isto. i Pucs tU' ([U it'll ?

Turin. I )r l(»s (lisci'i'tos ;

|ioi'(|iH' (Ic (liiKTsas caiisas -'595

na/i'ii ctVi'tos dincrsos.
Lisco. ; Ay Turin! l^uclboinc a Nise.

Mas (luit'i'o el ciilciulimicnto,

que tocla la voluntad.

Senora, pues mi desseo, ^^^0

que era de daros el alma,

no pudo teller (en) effeto, *

(pu'dad con Dios.
Fiuca. Soy medrosa *

de las almas, porque temo

que de tres (jue aiuhni i)intadas 2605

puedc ser la del ynficrno.

La noehe de los diffuiitos *

no saco de puro miedo

la cabeza de la ropa.
Turin. Ella es loca sobre necio, 2610

que es la peor guarnizion.
Lisco. Decirlo a su padre quiero.

* Vaijanse [Liseo y Turin, \j .saiga n] Laurenzio y Pedro

Laurcncio. /, Puedo salir?

Finea. /-Que te dize? *

Laurencio. Que ha sido el mexor remedio

que pudiera ymaginarse. 2615

Finca. Si; pero siento en estremo

LA DAM A BOB A 231

bolbernu' a l)oba, aim fingida.

Y pues fingida lo sieiito,

los que son hobos dc vei-as

l Conio viuen ?
Laurencio. No siiilicndo. 2620

Pedro. Plies si vn tonto ver pudiera

su entendimiento en vn espejo,

^, no fuera huyendo de si?

La razon de estar contentos

es aqnella confianza 2625

de tenerse por discretos.
Fined. Hablame, Laurenzio mio,

sutibnente, porque qniero

desquitarme de ser boba.

* Entre Nise, y Qelia

Nise. Sienpre Finea y Laurenzio 2630

juntos : sin duda se tienen

amor ; no es posible nienos.
Celia. Yo sospecho que te engailan.

Nise. Desde aqui los escuchemos.

Laurencio. iQne puede, hermosa Finea, 2635

deeirte el alma, aunque sale

de si misma, que se .yguale

a lo que mi amor dessea?

Alia mis sentidos tienes :

escoge de lo sutil, 2640

presumiendo que en abril

por amenos ])rados vienes.

Corta las diuersas flores,

porque en mi ymaginazion

tales los desseos son. 2645

Nise. ^Estos, (^'elia, son amores,

o regalos de cuiiado?
Celia. Regalos deben de ser,

pero no quisiera ver

'2:\'2 .11 TO TKIiCKlUt

(•nfiado tnti rc^alado. -''•"'"

Fitira. ; Ay Dios! ; Si llc<;iisc dia

en t|iii' vit'ssc lui fspi ran/a

sn posi'sioii !
I. nun )ui(i. ; Quv no alraii/a

\na aiiioi'osa poiiia ?
I\(1vi). Tu licniiaiia t'sciicliaiido.

I.diiri ucio. i Ay (dclos! 2(555

Fittiii. UiU'lboiiH' a boba.

LdiO'ctu'io. Eso yiiporla.

FiiKd. Vote.

Nise. Espci-alc, rcjioria

Ins jiassos.
Laiin lU'io. ;\'t'iidras t'Oii zelos?

Nisc. (\'los son i)ara sospechas;

trayc.'iones son las vordades. -'^'^'^

Launncio. ; Que presto te persuades,

y de engaiios te aprobechas!

t Querras buscar ocasion

para querer a Liseo,

a quieii ya tan eerca veo 2G(55

de tu boda y posesion ?

Bien hazes, Nise, hazes bien.

Lebantame vn testimonio,

porque deste matrinionio

a mi la culpa me den. 2670

Y si te quieres cassar,

dexame a mi. [Vayase]
Nise. Bien me dexas.

Yengo a quexarme, y te quexas.

^. Aun no me dexas hablar?
Pedro. Tiene razon mi seiior: 2675

casate, y acaba ya. [vayase]
Nise. I Que es aquesto ?

Celia. Que se va

Pedro con el mismo humor,

LA DAM A BOB A 233

y aqui viene bien que Pedro *

es tan ruin eomo su anio. 2680

Nise. Ya le aborrezco y desanio.

i Que bien con las quexas medro !

Pero fue linda ynbenzion

antieiparse a renir.
Cclia. Y el Pedro, i quien le vio yr 2685

tan vellaco y socarron ?
Nise. Y tu, que disimulando

estas la traycion que has hecho,

lleno de engafios el peclio,

eon que me estas abrassando, 2690

pues eomo sirena fuiste

medio pez, medio muger,

pues de animal a saber

para mi dano veniste,

fepiensas que le has de gozar? 2695

Finca. i Tu me has dado pez a mi,

ni sirena, ni yo fui

xamas contigo a la mar?

Anda, Nise; que estas loca.
Nise. I Que es esto?

Celia. A tonta se buelbe. 2700

Nise. A vna cosa te resuelbe :

tanto el furor me proboea,

que el alma te he de sacar.
Finea. ^Tienes cuenta de perdon? *

Nise. Tengola de tu traycion, 2705

pero no de perdouar.

I El alma piensas quitarme

en quien el alma tenia?

Dame el alma que solia,

traydora hermana, animarme. 2710

Mucho debes de saber,

pues del alma me desalmas.
Finca. Todos me piden sus almas;

•

234 A (TO Ti:i:ii:iu)

iilmario ^V'ho dc set".
Toda st\v liurlos y lolxts. -''•'

Monti's ay doiulf no ay j^'fiitc:
yo Mif yrr a iiu'tri' srrpiciilt'.
A'/.s( . Que ya mt cs ticiiipo ik' bobos.

Daiiir v\ alma.

* \Etiintt\ Oldhlo cnii Fi iiisd If J)i((ir(lo
Otdhln. (■ <^»|"i' rs aiiuesto?

Fiiiid. Almas me i)i(l('ii a mi. ""20

^Soy >o pui'^atorio?
Xisr. Si.

Finta. Pucs i)rO('ura salir jii-csto.

Otdhio. ;. Xo sabrt'iiios la ocasion

de viiestro onojo?
Fi)ua. Querer

Nise, a fiici'za dc saber, 272o

jicdir lo quo no es razon :

alinas, sirenas, y pezes

dize que me ha dado a mi.
Otdbio. ^, Hase buelto a boba?

Nise. Si.

Otahio. Tu pienso que la enbobezes. 2730

Finea. Ella me ha dado ocasion ;

que me (jnita lo (jue es mio.
Ofahio. Se ha biielto a su desbario.

]\Iiierto soy.
Foiiso. Desdichas son.

Duardo. ^, No decian que ya estaiia 2735

con mucho seso?
Otahio. i Ay de mi !

Nise. Yo quiero hablar claro.

Otahio. Di.

Nise. Todo tu daiio se acaua

con mandar resueltamente,

— pues como padre podras, 2740

LA DAM A BOB A 235

y aiiiique en todo, en esto mas,

pues tn onor no lo consiente, —

que Laurenzio no entre aqui.
Otahio. l^ov que?

Nise. Porque el ha causado

que esta no se aya cassado, 2745

y que yo te enoje a ti.
Otahio. Pues eso es mui faeil eosa.

iVi.se. Pues tu cassa en paz tendras.

* [E)itrcn] Pedro ij Laurenzio

Pedro. Contento, en efeto, estas.

Laurcncio. Ynbenzion marauillosa. 2750

Celia. Ya Laurenzio viene aqui.

Otahio. Laurenzio, quando labre

esta cassa, no pense

que academia institui ;

ni quando a Nise criaua, 2755

pense que para poeta,

sino que a muger perfeta

eon las letras la ensefiaua.

Sienpre alabe la opinion

de que la muger prudente, 2760

con saber medianamente,

le sobra la discrezion.

No quiero mas poessias,

los sonetos se acabaron,

y las musicas cesaron ; 2765

que son ya brebes mis dias.

Por alia los podreys dar,

si OS faltan telas y rasos; *

que no ay tales Garzilasos

eomo dinero y callar. -"'^

Este venden por dos reales, *

y tiene tantos sonetos ^

eligantes y discretos.

23(5

JCTO TKUCKh'O

I.nurnicio.

(Habio.

I.aUlU )l({n.

Otnbio.
Laurt ncio.

Ofahio.
Laurcncio.

Ofahio.
Fcniso.

Duardo.
Pedro.

Otahio.

Fine a.
Otahio.
Finea.
Otahio.

quo vos no los luirrys talt^s.
Ya MO liahrys dc ciitrar at|iii.
(^011 fstc aclKKiuc, yd coil l)ios.
Es mui jwsto, roiuo vos
iiif (leys a mi osposa a mi.
(^Uf vos liazcys vucsti'O j^fusto
CM vucslra cassa. y cs l)icM
(juc CM la mia yo tanbicu
hajj:a lo (luo fiuTo justo.
/, Que mugrcr os tongo yo?
Fiuca.

I Est ays loco?

Acjui
ay trcs tcstigos del si,
que ha mas dc vn mcs que me die.
/. Quien son ?

Duardo, Feniso,
y Pedro.

/. Es esto verdad?
Ella de su vohmtad,
Otabio, darsele quiso.
Assi es verdad.

No bastaua
que mi sefior lo dixesse.
Que eomo sinple le diese
a vn hombre que la engafiaua
no ha de baler. Di, Finea,
I no eres simple ?

Quando quiero.
i, Y quando no?

No.

l Que espero '
Mas quando sinple no sea,
con Lisseo esta cassada.
A la justicia me voy.

2775

2780

27S5

2790

2795

2800

LA DAM A BOB A 237

^

Yayase Otahio
Nisc. Yen, C^lia, tras el; que estoy

celosa y desesperada.

* y Nise y Celia

Laurcncio. Yd, por Dios, tras el los dos;

no me suceda vn disgusto.
Fcniso. Por vnestra amistad es justo. 2805

Duardo. Mai echo ha sido, por Dios.
Fcniso. ^Ya hablays como despossado

de Nise?
Duardo. Piensolo ser.

* y Duardo y Fcniso

Laurcncio. Todo se ha hechado a perder.

Nise mi amor le ha contado. 2810

jQue remedio puede haber,
si a verte no puedo entrar?

Fcnia.

No salir.

Laurcncio.

feDonde he de estar?

Finea.

^Yo no te sabre esconder?

Laurcncio.

^ Donde ?

Finca.

En casa ay vn desban

famoso para esconderte.

«

Clara cut re

Clara ...

Clara,.

Mi seiiora . . .

Finea.

Aduierte

que mis desdichas estan

en tu mano. Con soereto

lleba a Laurenzio al desban.

Clara.

^Y a Pedro?

Finca.

Tanbien.

Clara.

Galan,

camine.

2815

2820

238 A( TO TKliCKRO

Laurcnrio. Yo tc proiiuto

i\\u- voy tciil)limtio.

Final. ; !>'• M>i'''^

I'ttlro. ("l;ii;i. ell llijjfimdo la ora

(If iiiiKiuir. tli a tii scfiora
(|Uf aljjuii siistciito iios (If.

Clara. ( )tr() foiiu ra pioi"

i\\U' 111.

I'lihu. ; Vo al tirslian ? ;soyf;ato?

* \\njaii.'« L(it(r( iizio, Vtdro, if Clara

2825*

*
2830

Fiiua. ;Por (|ue de ynposiblo ti-ato

cstc mi publico amor?
En llctramlost* a saber
Vila voluiitatl. no ay cosa
mas triste y escandalosa
para vna onrrada muger.

Lo que tiene de secreto, 2835

eso tiriic amor do gusto.

* Ofahio cntrc

Otabio. Harelo, aunque fuera justo

poner mi enojo en effeto. [apart e]

Finca. i, Vienes ya desenojado?

Ofahio. Por los que me lo ban pedido. 2840

Finca. Perdon mil vezos te pido.

Otabio. i,Y Laurenzio?

Finca. Aqui ha jurado

no entrar en la corte mas.

Otabio. ^Adonde se fueV

Finea. A Toledo.

Otabio. Bien bizo.

Finca. No tengas miedo 2845

que buelba a Madrid xamas.

Otabio. Hija, pues sinple naeiste,

LA DAMA BOBA

239

y por niilagros de amor
dexaste el passado error,
^como el yngenio perdiste?

Finea. ^Que quiere, padre? A la fee,

de bobos no ay que fiar.

Otahio. Yo lo pienso reraediar.

Finca. i, Como, si el otro se fue ?

Otdbio. Plies te enganan facilinente

los honbres, en viendo algiino,
te has de esconder ; que ninguno
te ha de ver eternamente.

Finea. Pues ^donde?

Otabio. En parte secreta.

Finea. ^Sera bien en vn desban,

donde los gatos estan?
^ Quieres tu que alii me meta ?

Otahio. Adonde te diere gusto,

como ninguno te vea.

Finea. Pues alto, en el desban sea:

tu lo mandas, sera justo.
Y aduierte que lo has mandado.

Otahio. Vna y mil vezes.

* Entren Liseo y Turin

2850

2855

2860

2865

Liseo.

Finca.

Otahio.
Finea.
Otahio.
Finea.

Si quise
con tantas veras a Nise,
mal puedo haberla oluidado.
Hombres vienen. Al desban,
padre, 3^0 voy a esconderme.
Hija, Liseo no ynporta.
Al desban, padre ; ombres vienen.
Pues i no ves que son de cassa ?
No yerra quien obedeze.
No me ha de ver hombre mas
sino quien mi esposo fuere.
Vayase Finea

2870

2875

2880

2890

I'lO ACTO TERCKliO

l.isi t>. Tus »lis<riist(»s lit' snliido.

Ottihio. Soy pjidn-.

I^isfO. KrllK'dio |)llf(lcS

poiuT I'll jKUH'stas I'osns.
Otahiti. Vji Ic lu' piu'sto, com (|Uf tlcxcii

mi ciissa los (|Uc la yiniuii-laii.
Lisa I'tics ;ilt' «iiU' luaiu'ra?

Otnbio. Fui'ssi'

Laurt'ii/.io a Toliilo ya. 2885

Lisro. i Qiu' bifii lias licclio !

Otabio. lY tn crdios

viuir a(|ui sin casarto?

Por(iiU' el inisino iiicoiiuiiiiente

se sigfuje dc <iiu' atnii I'stes.

Oy haze, Lisseo, dos messes

que me trahes en palabras.
Lisco. i Bien mi termino agradezes !

Vengo a cassar con Finea,

forzado de mis parientes,

y hallo vua siuple miiger.

^. Que la quiera, Otabio, quieres?
Otabio. Tienes razon ; aeabose.

Pero es linpia, hermosa, y tiene

tanto doblon que podria

doblar el marmol mas fuerte.

I Querias quarenta mil

dueacTos con vna fenis?

^Es coxa o manca Finea?

jEs ciega? Y quando lo fnesse,

jay falta en naturaleza

que con oro no se afeyte?
Liseo. Dame a Nise.

Otabio. No ha dos oras

que ]\Iiseno la promete

a Duardo en nombre mio.

Y pues hablo claramente, '^^^^

2895

2900

2905

LA DAM A BOB A

241

hasta maiiana a estas oras
te cloy para que lo ])i('nses,
porque de no te eassar,
l^ara que en tu vida entres
l)or las puertas de mi cassa
que tan enfadada tienes,
haz cuenta que eres poeta.

2915

* Vayase Otahio

Liseo. I Que te dize ? . . .

Turin. Que te aprestes,

y con Finea te easses ;

porque si beynte merezes

porque sufras vna boba,

te aiiaden los otros beynte.

Si te dexas de eassar,

te ban de decir mas de siete :

' ' ; Miren la bobada ! ' '
Lisco. Vamos ;

que mi temor se resuelbe

de no se eassar a bobas.
Turin. Que se cassa me pareze

a bobas quien sin dineros

en tanta costa se mete.

Rubrica de Lope de Vega

2920

2925

2030

* Yayanse, y entren Finea y ('lara

Finea. Hasta agora bien nos va.

Clara. No ayas miedo que se entienda.

Finea. jO ((uanto a mi aiiiada prenda

deben mis sentidos ya !
Clara. \ Con la humildad que se pone

en el desban!
Finea. No te espantes;

que es propia cassa de amantes,

2935

2940

■2.\-2 AlTl) TKL'CKh'O

aiimnii' Laiiiiii/io pcrdoiic
Clara. ;V (luifii no \iiir cii (Ifshiin

(li- (|iiaiil()s ()\ liaii iiiKMilo I
Fiiua. Aliruii liumililc (iiic lia sido

lie los (|in' I'll lo haxo t'slaii.
Cliira. Fill el tlcshaii vine cI lioinl)!'*'

(juc sc ticiu' por mas saltio

(|ii(' I'laloii.
Fiiira. lla/.clc ajrrabio ; 2945

(lUf I'lic (liiiiiio su nonihrt'.
Clara. Kii r\ (l('sl)aii el <\\\r aiiima

a graiulozas su dcspiciMo ;

I'll el (Icsban mas de vn lu-rio

(pit- por disereto se ostiina. 2950

Final. /, Quieros (pic tc dii^a yo

i-oiuo OS falta natural

de iiegios no peusar nial

de si mismos?
Clara. jComo no?

Fima. La confianza secreta 2955

tanto el scntido les roba.

que, (piaiido era yo imii l)oba,

me tube por mui discreta.

Y como es tan semejante

el saber eon la humildad, 2960

ya (pie tengo babilidad,

me tengo por incrante.
Clara. En el desban vine bien

vn matador criminal,

cuya muerte natui'al 2965

ninguno, o pocos la ven.

En el desban de mil niodos,

y sujeto a mil desgracias, •

aquel que diziendo graeias

es desgraeiado con todos. 2970

En el desban vna dama,

LA DAM A BOB A

243

Finea.

que creyendo a quicn la yiuiuieta,

por vii ora de discreta,

pierde mil anos de fama.

En el desban vn i)re(;iado

de lindo, y es vn cayman ;

pero tienele el desban

como el espejo engaiiado.

En el desban el que canta

con voz de carro de bueyes,

y el que viene de Muleyes,

y a los godos se lebanta.

En el desban el que escriue

versos legos y donados,

y el que por vanos cuidados

sujeto a peligros viue.

Finalmente . . .

Espera vn poco;
que viene mi padre aqui.

297;j

2980

2985

Miseno.
Otahio.

Fcniso.

Otahio.

Miseno.
Otahio.
Finea.

[Entren] Otahio, Miseno, Duardo, Fcniso

feEso le dixiste?

Si;
que a tal furor me proboco.
No ha de quedar ; viue el eielo !
en mi cassa quien me enoje.
Y es justo que se despoje
de tanto nezio mozuelo.
Pidiome graeiosamente
que con Nise le cassase ;
dixele que no pensase
en tal cosa eternamente,
y asi estoy determinado.
0yd ; que esta aqui Finea.
Hija, escucha.

Quando vea,

2990

2995

3000

■2\i ACTO TERCEEO

fonio iiu' \o luilx'ys tiiniid.uld,

(Hie rstays solo.
Otahio. Espt'l;! vii poco;

(luc ti' lit' cjissjido.
('lord. ; <^L*"'' Kiuibrfs

I'lisaiiiit'iito tloiidi' ay lioiihri's? 3005

Ofabiii. Lui'iro ; tfiifysiiu' por loco?

Finid. No. padre; mas ay acpii

lioid)it's, y voyiiu' al di'sban.
Ofdbio. Aijui por tii bifii tstaii.

F( niso. \'i'ii«jo a (pif os sirhays do mi. 3010

Fiuiti. ; Jt'siis, scMor ! /, No sabcys

lo (pu' mi ])adro ha maiidado?
Misi no. Oyt' ; (pic licmos coii/.ci'tado

(pic OS cascys.
Fiiitti. (Jracia tciicys.

No lia i\v liahcr liija obediente 3015

como yo: voynic al dcsbaii.
Misnio. Pucs no cs Feiiiso galaii.

Finca. Al desban, sefior parieiite.

ya!fa[u]sf Finca [y Clara]

Duardo. ^^01110 vos le habeys mandado

que de los honbres se esconda ? ' 3020

Otahio. No se, por Dios, que os responda.

Con ella estoy enojado,

0 con mi contraria estrella.
Miscno. Ya viene Lisseo aqui.

Dcterminaos.
Otahio. Yo por mi, 3025

1 que puedo dezir sin ella ?

[Entren] Lisseo, Nisc y Turin

Lisco. Ya que me parto de ti,

solo quiero que eouozeas
lo que pierdo por quererte.

LA DAMA BOBA 245

Nise. Conozco que tii persona 3030

mereze ser estimada,

y como mi padre agora

veuga bien en que seas mio,

yo me doy por tnva toda ;

que en los agrauios de amor 3035

es la venganza gloriosa.
Liseo. i Ay Nisse, nunea te vieran

mis ojos, pues fuiste sola

de mayor ynr-endio en mi,

que fue Elena para Troya ! 30-10

Vine a eassar eon tu hermana,

y en viendote, Nisse hermosa,
■ mi libertad salteaste,

del alma preeiosa joya.

Nunca mas el oro pudo 3045

eon su fuerza poderosa,

que ha derribado montaiias

de costumbres generosas,

humillar mis pensamientos

a la baxeza que doran 3050

los resplandores, que a vezes

ciegan tan altas personas.

Nise, duelete de mi,

ya que me voy.
Turin. Tienpla agora,

bella Nise, tus desdenes: 3055

que se va amor por la posta *

a la cassa del agrauio.
Nise. Turin, las lagrimas solas *

de vn hombre ban sido en el mundo

veneno para nosotras. 3060

No ban muerto tantas mugeres

de fuego, yerro, y ponzoiia,

como de lagrimas vuestras.

o,,; ACTO TKUCKIiO

Turin. PiU'S mira vii lionhrc (luc lloni.

^Eivs til lijirhani lif^rc?

iErcs paiitiTa? /, Ercs oii/.a ?

; Krcs (ill. 'lull'? (•, Krcs lc('liii/,a ?

; Er.'s ('iivc? ^ Krcs pandor^a?

; Qiial (Ic aciiu'stas cosas (M-cs,

(liic iH) I'stoy Iticii ni liislorias?
Msi . /, No basta dt/ir (jUt' cstoy

rciidida ?

* /w/Z/v r^/w

Cr/m.

Escut'ha, scnora.

Nis(\

^,Eivs Telia?

Cclia.

Si.

Nisc.

5 Que (inicros?

Que ya todos se alborotan

de verte venir turbada.

Otahio.

Hija, ^que es esto?

Cilia.

Vna cosa

que OS ha de poner cuidado.

Otahio.

i. Cuidado?

Cclia.

Yo vi que agora

llebaua Clara vn tabaque

con dos perdizes, dos lonjas.

dos gazapos, pan, toallas,

cuehillo, salero y bota.

Seguila, y vi que al desban

eaminaba.

Otahio.

Celia loca,

para la boba seria.

Fcniso.

i Que bien que eomen las bobas !

Otahio.

Ha dado en yrse al desban,

porque oy le dixe a la tonta

que. para que no la enganen.

en viendo vn ombre se esconda.

30G5

:5()7()

3075

3080

3085

3090

LA DAM A BOB A

247

Cclia.

Miseno.
Celia.

Otahio.

Celia.
Fcniso.

Otahio.

Duardo.

O.taljio.

Esso fuera, a no haber sido
para saberlo curiosa.
Subi tras ella, y oerro
la imci-ta.

Pues bien, i(\\\o yiiporta?
I No ymporta, si en aqiiel siu'lo,
como si fuera vna alfonbra,
de las que la primabera
en prados fertiles borda,
tendio vnos blancos manteles,
a quien hizieron corona
dos honbres, ella y Finea?
|,Honbres? ; Buena va mi honrra!
l Conozistelos ?

No pude.
Mira bien si se te antoja,
Celia.

No sera Laurenzio;
que esta en Toledo.

Reporta
el enojo ; yo y Feniso
subiremos.

Reconozcan
la cassa que ban afrentado.

Vayase Otahio.

?A\U-)

3100

3105

Feniso. No suceda alguna cossa.

Nise. No hara ; que es cuerdo mi padre.

Duardo. Cierto que es diuina joya
el entendimiento.

Feniso. Sienpre

yerra, Duardo, el que ygnora.
Desto OS podeys alabar,
Nise ; pues en toda Europa
no tiene ygual vuestro yngenio.

Liseo. Con su hermosura eonforma.

3110

3115

:ni20

:»4g Acro Ti:ii(i-:h'()

* Sdh/ii itiii III iSfxidd (lisiii(<l<i Ohihio sh/llhiKlo
ti l.<nir( ii:i('. Fiiixi. Clara 1/ I'idni

Otahio. Mil vid.is lir ilc (|uilai'

;i (jiiirii v\ oiior iiic rol);i.
l.aun mill. Di-tfin-tl la i-spada, Otahio;

yo soy, (luc cstoy con mi osposa.
/•'( niso. l Ks I,aiii-<'ii/,i(»?

iMurt mio. ," N«> lo veys?

Otahio. ;, (^iiit'ii piulicra sci- a^ora,

siiio Lamvnzio. mi yiifamia? 3125

Fiiua. Pius, padi'c. ;.(!(' (|iii' sc ciioja?

Ofahi'i). jOyiifamc! <• No me dixistc

line el diu'uo do mi desonrra

estaua en Toledo?
Fiina. Padre,

si a({ueste desban se nombra ^^^^

Toledo, verdad le dixe.

Alto esta, pero no ynporta ;

que mas lo estaua el Alcazar *

y la puente de Segobia,

y hubo juanelos que a el ^^-^^

subieron agua sin sogas.

El ino me mando esconder?

Pues suya es la culpa toda.

i Sola en vn desban, mal afio !

Ya sabe (pie soy medrosa. ^l'*^

Otahio. Cortarele aquella lengua,

rasgarele aquella boca.
Miscno. Este es casso sin remedio.
Turin. lY la Clara socarrona

que llebaba los gazapos? 3145*

Clara. ]\Iandomelo mi sefiora.

Miseno. Otabio, vos soys discrete;

ya sabeys que tauto monta

cortar como desatar.
Otahio. ^Qual me aeonsejays que escoja? 3150

LA DAM A BOB A

249

Miscno.
Ofahio.

Fcniso.

Laurcncio.

Otabio.
Liseo.
Otabio.
Lauren cio.

Pedro.

Finea.
Tiirin.

Nisc.

Turin.
Feniso.

Duardo.

Desatar.

Sefior Feniso,
si la voluntad es obra,
reciuid la voluntad,
y vos, Duardo, la propia;
que P'inea se ha cassado,
y Nise, en fin, se conforma
con Lisseo, que me ha dicho
que la quiere y que la adora.
Si fue, sefior, su ventura,
paciencia ; que el premio gozan
de sus justas esperanzas.
Todo eorre viento en popa.
Dare a Finea la niano.
Dadsela, boba yngeniosa.

Y yo a Nise.

Vos tan bien.
Bien merezeo esta vitoria ;
pues le he dado entendimiento,
si ella me da la memoria
de quarenta mil ducados.

Y Pedro, pio es bien que coma
algun guesso como perro

de la messa destas bodas?
Clara es tuya.

Yyo, piaei
donde a los que nazen lloran,
y rien a los que mueren ?
Celia, que fue tu debota,
sera tu esposa, Turin.
Mi bota sera, y mi nobia.
Vos y yo solo faltamos.
Dad aca esa mano hermosa.
Al senado la pedid,
si nuestras f altas perdona ;

3 J 55

31G0

3165

3170

3175

3180

iViO ACTo Ti:i:(i:i:()

(|Ut' !i<|ui |>;irii los (iiscrctos
ilii liii la ( 'mm din holxi.

I.oadt) Si (I tl s(inl isiDKi sacrunn iito

Anu n
Kn Minlri(L ;^>S <l( Ahril, dr lilLi
Lope de Vega Carpio [ruhrica)

Adilitioiis in I'oinit'ctioii with tlu' lict'iisc lo act :

\'i'}i osta conu'dia d sct-i'ctai'io Tlionias Graziaii Daiitisco, y vista,
nic la traiga. Va\ Mailrid, a 26 tie otubrc (U- HJ (rest illcf^ible
near tlu' ctlgt' of the page).

Esta coiiitMlia iiititulada La Datna huhd sc i)0(lra r('])i"('S('iitar,
reservaiulo a la vista lo que fuera de la lectura se offreciere, y lo
inismo en los cantares y entrenieses y bayles. En Madrid, a 27
de 8bre 1613.

Tliomas Grariaii Daiitisco.

Dasse lizencia i)ara ({lie se pueda representar esta comedia con-
foniic a la eensura. En Madrid, a 30 de otubre de 1613.

Podesse representar esta comedia intitulada la Dama hoha con
entremes y bailes honestos [y bnenos?] (no date, rest illegible).

LA DAM A BOB A 251

NOTES

ACTORS AND ACTRESSES

On the actors and actresses whose names Lope himself wrote
opposite the various dramatis personae, cf. H. A. Rennert, The
Spanish Stage in the Time of Lope de Vega (New York, 1909).
Tliis volume contains on page 409ff. an alphabetical "List of
Spanish Actors and Actresses, 1560-1680." Of the majority of
them little or nothing is known. The chief names in our list are
the actor Cristobal Ortiz de Villazan, famoso representante (cf.
Rennert, p. 545), and the actresses Jeronima de Burgos (pp. 268,
438), and Maria, who may have been either Maria de Argiiello
(p. 423) or the able and skillful Maria de Cordoba (p. 456).
The latter was especially famous as a comedienne, and in this
comedy (if she really appeared in it), had the hardest part to
play, namely the title-role. Jeronima de Burgos, on the other
hand, who played the part of Nise, was no less famous, being
favored by the devotion of Lope, who wrote the Dama hoha for
her. The preservation of the manuscrij^t may be due to this
fact. Cf. La Barrera, Nueva hiogmfia de Lope de Vega (Madrid,
1890), p. 271 ; Rennert, The Life of Lope de Vega (Philadelphia,
1904), pp. 172 and 244.

The first scene opens at an inn of the village of Illescas
(note 4).

1. lindas: all editions known to us i)rint hiienas. Lope un-
questionably abused the adjective Undo which occurs
frequently enough on some pages to justify an apology
which he printed in the dedication of la Viuda valcn-
ciana: "Muchos se han de oponer a tan linda catedra :
perdonen los criticos esta voz linda; que Fernando de
Herrera, honor de la lengua castellana y su Colon
primero, no la desprecio jamas ni dejo de alabarla, como

I NOTES

sc vo I'll siis ('(///(( lit OS, v\v." Thf rclV'i-i'iR'c is to: Obnis
(if (iarcilasso <h- la y<'(j<i, con anota^iones (Sevilla,
1580). Cf. also Fernando lic Hvrrcra, controvcrsia sohiu
SKS anota^'ionrs, etc. (Sevilla, 1870"), ospcciiilly p. 7, scr.
1, vol. 2 of tlu' liihlio/Hos andalurrs.

possadas: I'f. also, /(/ Nochr lolidaiia^ 1, xii:

{cl Capitdn Accbcdo y ti Alfvrcz ('<irrillo. d( camino;
dcspui's (I Inn sped.)
"Alft'iuz. Hui'iiii posada.
('(I pita n. Y (pi id a.

Alfirr:. Mafiana lo cslara mas. . . ."

Lope frecpieiitly places the oi)eniiig of an act, or a scene,
in a hostelry or inn. Cf. cl Boho drl cohujio, II, iv.

2. chinches: liartzenbuseh, par hucnos rcspetos, we may pre-
sume, changed this word to cuartos.

4. Yllesco^: The place of this scene was once a popular "half-
way house" between ^Madrid and Toledo, and is fre-
quently mentioned in Spanish plays. Cf. Lope, el
Auscnte en el lugar, II, i:

"]\Ias, por Dios, que aunque vestido

ya de camino te vea,

y a mi con esta librea

a lo flandesco lucido,

que no creo que de lUescas

has de pasar."
In the ])lay Entre hobos anda cl jucgo by Francisco de
Hojas Zorrilla, the second act opens in cl mesoti de
lUcscas.

Covarrubias (in Tesoro de la Icngua castcllana) says,
under Illescas: "De esta Villa hizo donacion el Rey
Don Alonso, cerca de los ailos de mil y ciento y setenta
y seis a la Santa Iglesia de Toledo, que segun pareee
auia buelto a ser de la Corona Real, para que los Santos
patronos della alcancassen de nuestro Senor vitoria, y

LA DAM A BOB A 253

prospero sucesso de la giierra que pretendia liazci- a los
Moros. Oy dia (Covarrubias wrote this only a few-
years previous to the date of our play) esta ilustrada
esta Villa con el Santuario, y casa de oracion de vna
Imagen de la Virgen, y Madre de Dios, que comunnu-ntf
llaman nuestra Senor de Tlleseas." Pascual Madoz (in
DiccioHurio gcogrdfico-estadistico-historico de Espana,
Madrid, 1847, IX, p. 421) says: "En el santuario de
Nuestra Seiiora de la Caridad se venera la imagen de
Nuestra Senora (que es una de las que San Ildefonso
tenia en su oratorio) y fue const ruido a espensas del
pueblo por los anos de 1600 ; fue trazado por Donienico
Teotocopuli, conocido por El Greco, quien ademas hizo
para el dos eseelentes cuadros que aun se conservan en
sus altares eolaterales . . . ; la fama de los niilagros de
esta imagen ha fijado en alto grado la devocion de los
fieles ; . . . nuestros monarcas . . . ban heeho muchos
regalos a esta Senora."

Although this village has lost its former prosperity, it
deserves a visit today.

guindas: cf. Cervantes: Persiles y Sigismunda, III, xxi ;
edition Schevill-Bonilla, II, p. 194:
" — ^Donde vistes vos, seiiora — , dixo Marulo — , a mi
hijo Andrea? ^Fue en Madrid, o en Salamanca?
— No fue sino en Illescas — , dixo Ysabela — , cogiendo
guindas la maiiana de San Juan, al tiempo que albo-
reaua ; mas, si va a dezir verdad, que es milagro que yo la
diga, siempre le veo, y siempre le tengo en el alma.
— Aun bien — replied Marulo — que este mi hijo cogiendo
guindas, y no espulgandose, que es mas propio de las
estudiantes." Cf. also Covarrubias, under guindas.

mentiras : ' ' travelers ' yarns ' ' ; the reader will recall the
Spanish saying, de luengas vias, luengas mentiras: there
are many scenes or episodes in Spanisli drama and
fiction, in which we find travelers of every rank and

j:.4 NOTES

station txcliiiii^MMfx their cxptM'icncos, both ti'iic iukI
olht-ruisc. Inns wouhl he especially siiitahle I'oi' siieli
seeiies.

17. nil (liiltis : "Sc Il;iiii;i assiiiiisiiH) l:i fiiil;i, (jue sc eorta ij^iial
a la altura tl<' hi iiiia<;eii o estatiia ile al^'iin Saiilo, eii (nie
se suele estaiiipai' su tij^iira. y las let I'as de sii ii(tiiil)iT con
plata 11 oro. I'sase j)or devoeit'iii."^ — DicvioiKtrui di Aii-
toridddt s. liartoloine de \'illall)a y hiSlana. in (I I'cle-
(jriiio iKriosi). printed in llii' Soriidail (h IUhliofilos
Espai'idh s, Madrid, 1880 tells ns how })ions pilgrims were
wont to hny these mcdidaa: "Desjiues de haber enm-
l>Iido eon lo (|Ue es de eseiieia en la ))elegrinacion, y
lidhi r tornado m(didas de inia^enes (pie alli dan, el
Pelegrino se despidio de acpiellos padres etc." This
refers to Nncstra Seiiora dc la P( Tia df F rati cut, ram
d( votisitiia, 1, J). 280.

1!1. Ynia<j< )i< s: Alonso, mozo dc niuclios amos (cf. el Doctor
Jei('iniino de Alcala Yaiiez y Rivera: El Donado Jiahla-
doi\ I, chap. 5) tells iis: "Llegue con no ])eqiiena
pesadurabre a Illescas, y sin irme a meson de puro
devoto me fni derecho a visitar el sagrado santiiario
de tanta estima, y eon miieha razon tan famoso en toda
Castilla, de la sagrada iniagrn de la JMadre de Dios,
Seiiora nuestra. Adore en aqnel suntuoso teinplo de
la Caridad a la Emperatriz de los eielos, eonsidere sus
riquezas, visite su grandioso hospital, remedio de tantos
pobres necesitados del favor humano; y liabiendome
encomendado al Senor y a su divina providencia, sali a
buscar un pedazo de pan."

25. postas: "Los cauallos que de publico estan en los caminos
cosarios para correr en ellos, y caminar con presteza
.... Dixeronse postas per estar expuestas, y pre-
venidas para qualquier hora y tiempo. Los cosarios
que las eorren se llaman correos : los que guian con el las
Postillones. ' ' — Covarrubias.

LA DAM A BOB A 255

— "Ay Paula! mi bit-n sc va.
^Estara en las pastas ya?"

"Carlos se fue: yo vi pasar las po.stas"

"Con dolor i)ie(') la posla,
de siierte que paso eual suele cl rayo,
que apenas de la vista se percibe."

— Lope: cl Ausente en el lugar, II, ix, xiii.

Por la pasta has also aeciuircd the meaning "uitlioiit

delay," "post-haste":
— "Pues pierdan, Celia, el pesar;
que par la pasta en un coche
eonmigo entonces vendran."

— Alarcon : las Paredes aycn, I, xi.
Cf. also below, verses 890, 904.

39. nanhrc: Lope also writes nambre (49) ; liambre (41) and
fianhre (44) as rime words merely represent in their
different spelling a very common inconsistency in all of
Lope's autograph manuscripts.

44. tozina fianhrc: "fiambre, ({uasi friambre, la carne que
despues de asada, o cozida, se come fria, manjar que el
estomago le abraca muy raal." — Covarruhias. Tliis
may account for Turin's statement, verse 38: ay a quien
pesa de oyr su nonbre.

50. vna hermasa caxa: a box of some conserve, possibly of
quince. "Algunas mereaderias ay, las quales se venden
en sus caxas; y assi dezimos: eaxa de confitura, caxa
de diacitron, etc.'"' — Covari'ubias.
"Giran. ^Tienes algo que me dar,
para que pueda llevar
alguna consolacion?
Elvira. Cajas de conserva ricas,
y una bota de azahar. ' '
— Lope: Servir a Scfior discrcta. II. iii.

256 SOTKS

('['. ('ervantt's: il h'ufian dichoso: Conudids; edition
Sclu'vill-Iionilla. II, p. iif). vs. L'T : llic t'iili'('int''s lo
(iiKirdti luiddddsd : "Dilc iiiia drstas caxas dr cai-iir
d«' mt'inhrillo. iiiuy <jrandt' etc."; tlic cut I'cinrs, (I
Vi:caiii<t fiiujido, wliicli .s|)caks of "una caxa dc coii-
stTva." In viTse W")-!, below, tlie woi'd may he J'oinul
aLraiii.

5;}. Ii:i<iii<s: here lucaiis " |iriiici|)les"' ; ( 'ovai-i'id)ias under
]((!• has: "lei Ufa: lo (|U' eoiuuuiiieule se le, y en
escnelas signitiea nuittTJa; hcclDH, lo inisiuo, y la
doctn'na del maestro."

r)6-S. las (hnuas . . . diuina,<i:

— ' ' Yo no imagino que estan

desa suerte las mujeres,

sine todas cristalinas,

eomo vn vidro trasparentes."

— Lope: el Pcrro del hortelano, I, xii.
The idea that women are frail, "as brittle as glass"
is connnon to all the writers of the Golden Age. In
his Novela del curioso impcrtinenie Cervantes states:
"Quiero dezirte vnos versos que se me han venido a
la iiu'inoria, <iue los ohi en vna comedia moderna, que
me parece que hazen al proposito de lo que vamos
tratando. Aconsejaua vu prudente viejo a otro padre
de vna donzella, que la recogiesse, guardasse y ence-
rasse. Y entre otras razones le dixo estas :
— "Es de vidrio la muger

pero no se ha de prouar,

si se puede o no quebrar,

porque todo podria ser.

Y es mas f acil el quebrarse ;

y no es cordura ponerse

a peligro de romperse

lo que no puede soldarse. etc."

— Don Quixote, I, xxxiii, fol. 189.

LA DAM A BOB A 257

64. ralea: " Jalea, vale ol (niino, o t-l licor (h-l inoinbrillo, o tie
otra cosa de que se haze conserua, la qual trauaii, y
eongelan de modo, que queda transparente, y vale tanto
como cosa elada, de el nombre Toseano giallo, por
yelo. ' ' — Covarrubias.

. . ."Yo se hacer
rica conserva y jalea,
con que darte de comer."

— Lope: Servir a Senor cliscreto. ITT, xxv.

66. con dos puntos en el ay re: The printo<l versions all read
con tres puntos en el aire. I have found no passage to
illustrate this use of puntos. My learned colleague. Pro-
fessor F. 0. Reed suggests that the phrase may be taken
from the card-player's terminology and mean: she will
get along a whole week (and more, that is, with several
points to spare) on sugar; or, with two stitches loose.

86. estrihos de pain: "Hay tres diferencias de estrihos. De
medio celemin o media luna de hierro que usan los
vaqueros; son para la guerra los mejores, porque
guardan mas el pie .... La segunda es de palo de la
misma hechura. todos cerrados. ... La tercera, y mas
galana es de los marines, de hierro, de la heehura
ordinaria" (from Tapia y Salcedo- Exercicios de la
Gineta) quoted by Leguina, in his Glosario de voces de
Armeria (Madrid, 1912), p. 466.

88. merienda: "en rigor vale lo que se comia al medio dia,
que era poca cosa, esperando comer de proposito a la
cena : y assi se dixo merienda quasi meridiana, o antes
quasi merenda, porque se daua despues de auer traba-
jado, quando ya se merecia." (Covarrubias)

106. Es Madrid vna talega de piezas: Even Sancho Panza
thought the comparison of human beings witli chess
pieces a trifle old.

258 XOTKS

"liraua cDiiiparacion, — dixo Saiiclio — . auM(|Ut' no Ian
mnMia. (|U«' yo no la aya oytlo nuiclias y diuci'sas vr/.t-s,
como a(|Ui'lla ilil jiir^'o del axctlrc/, <|nt' niicnti-ns dura
fl juf^'o. cada |)i»'(;a tirnt' su particular oficio, y en aca-
haudost' I'l jucfjo, todas sc nif/clan, juiilan y l)ai"a.iau, y
tlaii con cllas on vna bolsa. (juc cs conio dar con la \ ida
on la scpultura.

— Cada dia. Sanoho — , dixo don Quixote — , tc vas lia-
ziondo nu'uos simple, y mas discreto. "

— f)n)i (Jiil.roh , 11, cap. 1L>, f. 41.
Lope had used the eomi)arison before:
' ' Bueno vengo desta vez

con la mascara fingida ;

bien jiai'ece (pie esta vida

es un juego de ajedrez.

i Oh como es miidable y vana !

Y echase en esto de ver,

(pie una pieza blanea ayer

puede ser negra manana."

— los Locos de Valencia, II, xiv.

142. a (/( nfihs vistas voy: for this use of vistas compare the
following passages :
"Alejandro. . . . luego quiero

pedir licencia para verla.
Aiifilio. En todo

tendremos el cuidado necessario.
Alejandro. Si en estas vistas tengo buena estrella,

j quien caso con muger tan rica y bella ? ' '
— Lope : las Flores de Don Juan, III, vii.
Also:

"Pues hoy seran las vistas, y amor trace
que se concluya, pues os viene al justo."

— Lope: Quien ama no haga fieros, I, vi.
This word belongs to a stereotyped social vocabulary,
with the special meaning of "first formal interview";

LA DAMA BOBA 2.19

it generally rcfei's to tlie first interview and I'oniial
exchange of promise of marriage between lovers. Cf.
also Velez Guevara: el Diahlo cojuelo, tranco II, for
vistas in the sense of "garments for a bride," pp. 22
and 244 of Seiior Bonilla's admirable edition {Bibliofilos
madriUnos, Madrid, li)10).

180. hasilisco: the modern reader learns with intei-est and
amusement that Lope and his contemporaries really
believed in this fabled creature. Many of the Mis-
celdneas of the sixteenth century tell all about its
dangerous qualities; Covarrubias treats it seriously in
his Tesoro, presumably because it was heresy to doubt
anything stated by Pliny in his Natural History. Pero
Mexia in his Silva de varia lection, II, xxxix says :
"Otras cosas tienen esta oculta virtud [habla de propie-
dades secretas] en sola vna parte de si proprias: como
... el basilisco que tiene poncona solamente en los
ojos, que mata con su vista. " It is hard to see what the
poetic conceptistas of those days would have done with-
out the basilisk. The dramatists bring him into the
dialogue frequently. Compare, for example :

Rey. I Que mas hechizos que ver ?

Don Manrique. Luego i basilisco ha sido?
Rey. No ; porque es su condicion

matar mirando, y morir
si le miran.

Lope: La Corona merecida I, vi.

This legendary creature has fortunately become extinct
in modern poetry. An interesting article on the basilisk
in Spanish folklore may be found in Folklore Espafiol:
BiUioteca de las tradiciones populares espaiiolas
(Madrid, 1884) III, pp. 13-83. (Ant. Maehado y
Alvarez).

irtO SOTICS

IS.'). L(»|ic (lofs not iiidicatc iiny scciu's in liis iiunniscfipt. Wo
arc now in Madiid in the liousc of Octavio. in-t'siiiuably
ill tlu- cliiff liviii}.: room of tlic lioiisi".

21(). mas me imdr< y maffiri/.a: a popular usa^f : " I'tidn nu\
soliro todo. liallai' tan coiitinua hlasfcmia m Icnj^uas (Ic
(luit'iirs aitfiias piicdrn scr caiiallos, (jiianto mas caua-
UtTos." ('iirist(')ual Snare/. Av h'i^'iicroa : (I r(iss(i(/<r<)
(Madritl, 1617) ; rt'prinlcd in 1!I14 in llic scrii's liiblio-
filos cspanohs; id", j). 277, also SI. " I'or Dios, senor
nuestro aiiio, — ivplico Sanclio. — (pic vucssa uk iced s(i
(piexa do bicn i)0('as I'osas. ;, A (\\w diahlos .st pinlrc do
(pie yo iiie sirna do mi liazicnda . . .1

—Doll Quixote, II, xlii, f. 163r.

21G-41). In coniu'ctiou with this whole passage the modern
reailer must take into account that in Lope's day men
were inelined to concede to women oidy a very retired
and nnobtrnsivo place, whether at home or in society.
They mnst be virtuous above all ; intelligence was of
secondary importance. "Miren los padres las obliga-
ciones que tienen, quiten las ocasiones, consideren do si
lo que murmuran de los otros, y vean cuanto mejor
serra que sus mugeres, hermanas e liijas aprendiesen
muchos puntos de aguja, y no muchos tonos de guitarra:
bicn gohernar y no mucho hailar, que de no saber las
mugeres andar por los rincones de sus easas, nace ir
a hacer mudanzas a las agenas. " — Guzman de Alfarache,
parte 2f/, libro 1°, cap. 2.

"Puede un hombre situar su reputacion en letras,
en armas, en gobierno y en virtud. Pero la mujer en
sola la virtud puede fundar su honor ; porque rii ellas
son menester para letras, ni para jugar las armas ni salir
con ellas al enemigo, ni para gobierno que pase de re-
mendar unas mantillas a sus criaturas, y dar unas

LA DAMA BOBA 2(31

sopillas a los gatos de casa ; y si inas liaecn, es meterse
en la jiirisdiccion de sus maridos y duefios. " — Gaspar
Lucas Hidalgo: Didlogos dc apacible cntretenimiento,
III, cap. 3.

"Propio de la inuger es oir y obedeccr al luarido, en
euj'^a potestad se halla ; mas ha de ser tratandola ni como
a cabeca ni como a pies, sine como a la parte y lado de
donde fue fonnada, que fue de vn medio, y medio cer-
cano al coracon" ... (p. 213). "Su mas perfeta her-
mosura es la verguenza, puesto que la corporal mas
superior, en poco espacio de tiempo, o por breue en-
fermedad se pierde. . . . Afirma san Geronimo serle
al liombre concedido por diuersas vias don particular
para adquirir honra, fama y nombre : a vnos con letras,
a otros con armas, a muchos con diferentes artes ; mas
a la muger solamente se concedio hazerse en el miuido
eterna con la verguenca, honesta y casta." (p. 271) —
El Passagero, op. cit. These commonplace teachings
repeat the gist of what may be found in many a con-
temporary sermon, and in tlioir last analysis go back to
the doctrines of the great church fathers themselves.

231. cnsehar: the MS., anscnar.

254. Otahio: the MS. has Ma, for the usual Ota. . .

259. que le falta [a] Miscno: a is often mechanically omitted
when another vowel (generally a), precedes or follows;
cf. Cervantes: ''no madrugamos a dar memoriales, ni
acompanar magnates." — la Gitanilla (first edition) ;
"dexo mudos a los dos amigos que escuchado la auian,
especialmente Avendaiio" . . . — la ilustre Fregona
(first edition) ; "el no salio, boluile a esperar, boluio
a no salir, y boluiose acostar." — Don Quixote, II, cap.
17, f. 63r. "Yo me obligo con ella cercenar vn copo de
lana." — Lazarillo de Tormes, III.

2i'.2 \()T]':s

L'7!l. FJiotiiiVo: Lope frr(nniitly icfci-s to the roniancc of Tlira-
fft His and ClKirihlm. In his la Xorln <l( San .hian, Don
Juan says:

"Nit iMii-nta cosas tan varias

lie ( 'Iari(|Uca llcliotloro ;

las (Ic Teaj^cni's passan

en anos. pci'o las niias

en vna norlif. "

— 111, f. SOr. (('(]. ]).
Ct'. also J.o (/IK lia dc .svr, 1, xiv; dc Cosario a cosario,
111, i, and his wry mediocre novcla: las Foriunas de
Diana (near the hi'jjcinninfjf) ; la Daroica, III, i. On
Ilt'liodorus, of. ISchevill : Tin (^t((slion of Ilcliodorus,
in Studies in Cervantes, 11, printed in Modern Phil-
ology, IV, 4, April, 1907; also Lope de Vega: Novclas;
edited hy J. 1). Fitz-Gerald and Leora A. Fitz-Gerald,
in Romanisehe Forsehungen, XXXIV (1913), p. 4 and
note.

285. Es que no se da a entender

con el artificio griego

Jiasta el quinto libra: Heliodorus introduces the reader
in madias res. We first learn of the adventures of hero
and heroine in Egypt, and elsewhere, but not nntil the
fifth book do we learn how the lovers fell into the situa-
tion with which the first book opens. On the artificio
griego, cf. the anonymous translation of Heliodorus,
printed at Antwerp in 1554: Historia ethiopica de
Heliodoro, a portion of the prologue of which (p. 4)
Nise repeats. An excellent work on the subject is Der
griechische Roman und seine Vorlliufer (ed. 2, Leip-
zig, 1900), by Erwin Rohde.

292. digna de aplauso y teatro: plays based on this story were
written by Perez Montalban, and Calderon, but its
theme of love and adventure was ill suited to the stage.

LA DAMA BOBA 263

298-302. Nise and her circle are devotees of the various poi-tic
fads then in vogue, known as conceptismo, and cultc-
ranismo, which will be referred to again below. Lope
frequently ridicules this "new style" of verse. See the
introductory essay also.

307ff. The humor of this scene recalls that of Moliere's Le
Bourgeois Gentilhomme, II, vi, where the maitre dc
philosophie says: "Pour bien suivre votre pensee, et
traiter cette matiere en philosophe, il faut commencer,
selon I'ordre des choses, par une exacte connaissance de
la nature des lettres, et de la differente maniere de les
prononcer toutes. " And thereupon M. Jourdain has
a lesson in the vowels and consonants of the alphabet.

317-8. El alba dehe de ser

quando andaua cntre las coles: "vn dicho comun que
traemos a proposito, quando vno pregunta con deseuydo,
y paciencia : ^ que es aquello? siendo cosa en su per-
juizio, le responden : No es sino el alba, que anda entre
las coles. Para declararme, presupongo que los gentiles
hazian a la aurora vna deidad, figurandola eomo vna
ninfa muy hermosa, vestida de bianco, y rociada de
aljofar . . . ; y vna hortelana, auiendose entretenido con
vn amigo, detuvose mas de lo que fuera razon para no
ser visto, y saliase de la huerta. Ya que amanecia, el
marido que se levanto y vio el ruido que hazia, sa-
liendo por entre la hortaliza a gatas, llamo a su muger
muy maravillado, y dixole : Muger, i es persona aquella
que va haziendo ruido ? Kespondio ella : No es sino el
alba que anda entre las coles." (Covarrubias). Cf. also
Lope : el Acero de Madrid, II, xvi ; la Dorotea, IV, v ;
Cuento de Cuentos, in Obras de Don Francisco de
Quevedo (Rivadeneyra), II, p. 407.

335. acordaua: the MS., acordoua.

2«54 .V(>7'A".S

;}i{7. Tlir maiiusi'riitt has an iiitcri'o^'al ion |ioiiit ; this, or any
puiu*tua1ii)ii, is very i-arc in Lope's aulo^naph inanu-
si-ripts.

;{()0. 'I'lic p'finlcd versions ha\'e: (lila: as tlie oi'i,t,nnal phiinly
has (///(/, ihe III natui'all\' refers to ((iiisn. ;{;")!).

'MO. ('(is: (^uevi'do. in ridienlin^' the abuse ot" some woi'ds says:
";, Hay eosa tan mortal conio zas? Mas han mncrto de
zas (pie (h' ot I'a enl'ernieiled ; no se enenta peiideneia (pic
no di^an: Y Uej^a, y zas y zas, y cayu Inego?"
— Cucnto dc Ciicntos (dedication), op. cit., p. 402.

'-]^~. pi( :(( (J( R(!/: ''Se llama comnnmeiite el trnlian o bufiui:
assi al que es sabandija palaciega, se dice (pie es pieza
dc Key." — Diccioiiario dc Auforidddi s, which cites
Qucvedo : "iQuc tracs? — dixo el cut remetido. Re-
spondi(') : — Estos dos. — ^ Quien sou? — Un liablador y
nil lisonjero y vano : son piczas de rcij, y por eso los
traigo al nuestro. — Violos Lucifer eon asco, y dixo: — j Y
eoiiio si son piezas de rej'es! ]\Ias aiuupie rey diablo y
diablo y archidiablo, no gusto desta gente." — el Entre-
mitido y la ducna y cl soplon, in Ohras, op. cit., I, p.
378. Lope uses the phrase to mean hoha, or simpleton ;
cf.:

"La tristezfi

que oprinie tanta belleza

nos ha obligado a sacar

este del Colegio Viejo ;

que es pieza de Rey."

— ci Boho del Colegio, II, xvi.

Cf. also Tirso de Molina : Por el Sotano y el Torno, I, iv.
In la Gitanilla of Cervantes Ave read: "yo dare traza
que sus ]\Iagestades te vean, i)orque eres pieza de reyes. ' '

LA DAMA BOBA 265

395. sc te sale cl alma: "Y, dando vii gran susi)iro, se le salio
el alma. — Persiles y SigisiniDida, op. cit. I, cap. 10, vol.
I, p. 75.

402. en todas las criadas: en for entrc is not uncommon in
Lope's day: "En estas platicas, y en otras semejantes,
'llegarou al liigar a la hora que anoehecia." — Don
Quixote, I, cap. 5, f. 16 v. Some commentators com-
plete the phrase by inserting "ocupados en e.stas pla-
ticas" which is unwarranted.

405. pario: wherever Lope has an accent in his numuseript, I
have left it ; usually at the end of a verse.

415. con la lihrea del rey

Colorado y amarillo: Cesareo Fernandez Duro, in his ad-
mirable work, Disquisiciones nauticas (Madrid, 1876, I,
p. 259), speaking of the marriage of Ferdinand and
Isabella (1469) adds: "se habian fundido las diversas
nacionalidades de la Peninsula en dos agrupaciones
designadas con los nombres de Castilla y Aragon: al
refundirse en una sola, al adoptar un simbolo comun,
logico era que se tomaran los elementos principales.
Ahora bien: Castilla blasonaba castillo de oro en campo
de gules o rojo y Aragon cuatro barras o — hablando
con mas propiedad heraldica — cuatro palos o hastones
de gules en campo de oro, esto es, identicos colores, de
manera que sin abdicacion por ninguna de las partes
se ofrecia por si misma la combinacion del rojo y ama-
rillo u oro para continuar siendo los colores nacio-
nales. . . . Dije que las lihreas de particulares y los
trajes uniformes de los servidores del Estado estan inti-
mamente relacionados con los escudos respectivos, y
caen bajo el dominio de la Heraldica. . . . Los trajes
militares del reinado del Emperador consistieron en
jubon, calzas y gorra rojos acuchillados de amarillo. En
tiempo de Felipe II vistio la infanteria de amarillo, con

•lUi S(>Ti:s

(MU'liillos ntjtis. Asi rst.'i prt'sciitada en hi piiilui'a di'
Sjiii (^uiiitiii (If la Sala lU' halallas del FiScoiial . . .
l'\'lil)r 1 \' sii|»iMiiiiri las cal/as ariii'liilladas. sust it iiy(''M-
(lolas I'oii f;r('f;ii('S('()s y iiifdias cal/as i\c laiia, ciiiTpo Ac
julx'm coil faldctas y s()iiil)rcro iU' licit ro a la iiuiIoiki.
VA jul)('>ii y fjfcfjiicscos craii (iniarilh)s y las iiicdias calzas
rnj(i,'<. scfifiiii una |iiii1iira <|iic poscc cii Lorca cl ii:ciici'al
Musso. "

417. itirr< IdiK s: "can-clou, iliniiniit iiio df caiTcIa: cstc 1i'

llcua vna sola bcslia, y si cs carrclon, o carrctoiicillo di'
pol)i-t', Ic llcua vna jxTSona ; >' ya yo Ic lie visto lii'ar i\o
dos i)crros, y dc vno." — (,'ovai'riil)ias.

418. . . . ( / romadizo

que (hi la nocJic a Madrid :
*'Z). Juan. Conozco aquel romance, y qnien le hizo.
T(Un. El tiplaeo es lechon con romadigo.

D.Juan. Serenos de Madrid caiisan catarro.

Lope: La Noche.dc S<ni Juan, TIT, f. 83v.

4'21. Ja calle Mayor: The noted playwi'iglit Rniz de Alarenn lias
an entertaining passage on this street :
^'Lconor. ; Calle ]\Iayor! ^Tan grande es

que iguala a su noinbre y fama ?
Clara. Direte por (p;e sc 11a ina

la calle IMayor.
Leonor. Di pues.

Clara. Filipo es el rey mayor,

Madrid su corte, y en ella

la mayor y la mas bella

calle, la calle ]\Iayor.

Luego ha sido justa ley

la calle Mayor llamar

a la mayor del lugar

que aposenta al mayor rey.
Leonor. Bien probaste tu intencion.

LA BAM A BOB A 267

Entrc Red on do.

R( (l<j}tdo. Ya (jiie a tal tiempo llegue,

con tu lieencia dire

tambien mi interpretacion.
Clara. Dila.

Rrdondo. La calle Mayor

pienso que se ha de llamar,

porque en ella ha de eallar

del mas pequeno al mayor ;

porque hay arpias rapantes,

que, apenas un hombre ha liablado,

cuando ya lo lian condenado

a tocas, cintas y guantes :

y un texto antiguo se halla

que dijo por esta calle :

' calle en que es bien que se calle ;

que no medra quien no calla.' "

— Mudarse por mejorarse, I, x, xi.

The following extract is from Tirso de Molina:
^' Da. Bernarda. ^Como se llama esta calle?
Santillana. La calle de las Carretas.

Es ombligo de la corte ;

la Puerta del Sol aquella ;

la Vitoria al cabo de ella ;

y a la otra acera es su norte

el Buen Sueeso ; alii enf rente

el Carmen ; a man derecha

la calle Mayor, cosecha

de toda buscona gente :

San Felipe a la mitad :

Puerta de Guadalajara

arriba, de quien contara

lo que puede una beldad ;

pues por mas que un bolsillo haga,

es como dar con el tore ;

288 XOTICS

y (•()l)r;iiitl() fii pliil.i ii oro,

l>;ii:ii cii fUiii'tos, si t'S t|iic |)iit,M."

I'or 1 1 SotaiK) 1/ (/ Tonit). I, vi.
Sfc ;ilso ill Lope's (/ Accra de Madrid, 1, xiii, tlu'
spot'cli of I'xltr.'iii.

If the w itf icisiiis and di'script ions (Icaliiii,^ witli lliis
fanioiis street were to he <i:leaiie(l Ifom the ilraiiiatists
alone, a eom|)relieiisive history of tlie life and activities
of the ((dh Mdi/or, and even of the eiitii-e capital could
he written, ("f. also McsoniM'O Koniaiios: A7 antifjuo
Madrid ^.Madrid. 18G1), p. 76ff., llGff. ; Kicardo Se-
pulveda: Madrid rirjo (Madrid, 1887), i)p. IDUIf.

424. taidiis s(rni:ios: Owin^ to the ahseiice of sewers, refuse
and jjarhage, dirty water and woi'se were fre(iiiently
thrown into the streets, and not oidy at night. The
law required, however, that a warning agua va \w
shouted before anything was throw^n out. The un-
suspecting passer-by could then scurry into the nearest
doorway until the shower was over. References to this
incredible habit are common enough in the w^riters of
Lope's day. "Un bellacon, mozo de cocina (que debia
de estar fregando) pusose a una ventana, y echome por
eima un gran pailon de agua hirviendo, y cuando la
tuve a cuestas, dijo muy despacio: Ag\ia va, guardaos
debajo. Comenee a gritar, dando voces que me hahian
muerto. " — Guzman de Alfarachc, i)arte la, lihro 3°,
cap. 3.

' ' i Que sin dezir al que passa
agua va, las desta cassa
derramen vn orinal ! ' '

Gongora: el Doctor Carlino, II (fragment).
Cf. la Casa de los Celos, by Cervantes, a popular
song (Act II) :

"Derramastes el agua, la nina,
y no dixistes: jAgua va!
La justicia os prendera."

LA DAM A BOB A 269

In la Giiarda cuidadosa of Corvniilcs, lln- s;iciis1an
asks the soldier in what way Cristina, the liousciiiaid, has
received his many favors, and the hitter rej^lies:

"Con . . . dci-ramar sohre mi his lavazas cnando ja-
bona, y el agna de fregar euando f riega ; y esto es cada
dia, porque todos los dias estoy en esta ealle y a hu
puerta." See also the dialogue in Lope's el Villano cu
su Rincou, 11. vii, not unlike that in the (ntrcm-a of
Cervantes.

As regards the particular meaning of scrvicio in our
play compare : ' ' Una moza de fregar, dadas las once
de la noche, saco el servicio de sus amos a la calle, y
por quitarse de ruidos, vaciole a la puerta de nn vecino
que haeia y vendia esteras de esparto y de paja (oficio
que comunmcnte se halla entre diseipulos del Alcoran),
y como por el mal olor viniese a noticia del hombre el
desacato de la moza, salio muy enojado, diciendo: —
j 0 bellaea fregona, nunca otro eches en tierra de cris-
tianosl — Dijo la moza: — Por eso le vacie yo a vuestra
puerta." — Caspar Lucas Hidalgo: Didlogos, I, cap. 4.
"Tenia por costumbre el viejo burlon de levantarse
easi cada noche al servicio ; y el of endido Bartolo, que
no ignoraba esta costumbre de .su viejo, la noche
siguiente, euando le sacaba a la calle para limpialle,
antes de acostarse el cura, en lugar de limpialle, como
solia, le puso toda la redondez esmaltada, etc." Ibid..
II, cap. 4.

"Abrio un mozo la ventana de arriba con un candil
encendido en la mano y un tocador en la cabeza entre
sucio y roto, diciendo: No hay posada. hermano; vaya
con Dios, y menos golpes; que le coronarji i)or necio un
orinal de seis dias." — Tirso de Molina: los Trcs maridos
hurlados, 2a burla.

Quevedo, in his Vida del Buscon uses the word with
the double meaning found in the play: "iQue estima-
ban — dijo [el soldado] muy enojado — si he estado yo

270 SOTHS

sfis mcsi's |ircI('Milifiiil<) uii;i liamlfiii. 1 r;is xi-inlc iinos
(If scrvicio dtl rey. ('onio lo dicfii (stas luridas! . . .
Prc^uiilr V. III. fii l"''laii(l<'s poi- la lia/ana drl Mcllado,
y vcn'i lo (|iif di/.fii. — . . . Kl soldailo llami'i al liurs-
pcd y Ic fii('omfnd<'» siis paju'lt's com las cajas ilc lata
t|iu' los Irala. . . . Ilizosc liora (!>• Icvantaf ; lei sol-
dado] pidit" 111/, iiiiiy aprisa; t raji'TOida, y d liui'spt'd
t'l cMvoltoi'ii) al soldado, y olvidaronsclo los papclcs. El
pohrc Alfrn-z liundia la casa a ^ritos, iiidiciido (juc
sc li' dit'st' los scrvicios. Kl liiirspcd sc tiii'lx'); y como
todos ilcciaiiios (pio so los dicsc, i'uO corriondo, y trajo
tri's baeincs, dieii'iido: — He atiiii para cada uno el suyo.
/, Quioren mas servicios? — entendiendo (pic iios hal)ian
dado caiiiai'as. A(pii fu('' clla ; (pic se levanto cl soldado
con la csi>ada tras cl Inicspcd, cii eamisa. juraiido que
Ic habia dc inatar porqiic hacia bni-la (b'd ((pic sc liabia
liallado cii la Naval, San Quint in >■ otras). ti'ay(''ndolc
servicios on liiirar {\(' los papelcs (pic Ic liabia dado."
I, cap. 10.

42."). . . . agua ardiente,

agua vizuicta del vino: so called by Lope because it was
distilled from wine. "Es la que por artificio se saca
del vino, de siis heces, del trigo, y de otras cosas." —
Diccionario de Autoridades.

427. los honhrcs carnestolendas: In el Accro de Madrid. Bol-
tran says:

"Franceses, qne pregonais
aguardiente y letiiario. "
For the noise and revelry of carnival time, hinted at in
lines 425-8, see Gaspar Lucas Hidalgo: Didlogos, espe-
cially the romance recited by Castaiieda in the last
chapter, beginning :

"Martes era, que no lunes,
martes de Carnestolendas etc."

LA BAMA BOBA 271

There is also a very characteristic description from
the pen of Quevedo in his Vida del Buscun, I, cap. 2, be-
ginning: "Llego, por no enfadar, el tiempo de las
Carnestolendas etc. " These passages are, of course, con-
ceived in the popular and less decent spirit of carnival.
In Moreto: el Dcsdfn con el desden, II, iii, carnesto-
lendas are presented with a dignified and courtly spirit
in a sarao. The scene begins : —
Musicos. "Venid los galanes

a elegir las damas,

que en Carnestolendas

amor se disfraza.

Falarala, larala, etc."
Lope finished this play in April ; he may, therefore,
have been writing this passage at carnival time.

430. despertauan los offizios: trades people, craftsmen, etc. The
oficial is here contrasted with the moneyed or aristo-
cratic class {renias). "He tenido y servido, corao dicen,
siete oficios, aprendiz, oficial, despensero, criada, y criado,
mayordomo y escudero."

— el Donado hahlador, op. cit., II, cap. 10.

''Tristan. Pues ^,que falta a Garceran?
Fulgencia. Ventura.
Tristan. Y ^que mas?

Fulgencia. Dinero.

Garceran. Por esa faltilla sola

hay en el numdo escuderos,
duenas, pajes y lacayos,
oficiales y hombres buenos,
y poetas hay tambien."

— Lope : el Boho del Colegio, III. xxii.
"Mando Pelayo salir
a todos los oficiales.
Que saldrian, respondieron,

::-2 .\()Ti:s

(Ic liiiniji ^aiia los sasln-s
a pt'K'ar con los moios."

— (I I'ri iiiio <h I hit II lidhldr. 1 1 1, iv.

"('uaiido los I'spafiolcs alcanzaiiios tin ical. somos prin-
ciprs. y anncpu' nns fallc. luis In liacf crt'cr la prcsnnciun.
Si prt'fjrnntais a nn uial Irapillo (inirn fs. n'sj)on(l('ros
ha I'oi- lo nirnos. (jnc di'scirndc t]i' los «;o(los, y (pic sn
coiia sncrtc lo ficnc an-inconado, sicndo |)ropio del
nnindo loco Icvanlai' a los hajos y bajai' a los altos; ])ci'o
(pn' anncpu' asi sea. no dara a toicci' su hca/o ni se
cstiniara en nicnos (pic el mas prcciado, y itioi'ira antes
dt^ lianibrc, (pic pontM'se a iin dficio; y si se ])oncn a
ajn'cnder al{?uno, es con tal desaire que, o no trabajaii, o
si lo liaccn, cs tan mal, que apcnas se liallara nn bnen
oficial en toda Espana." — hium,' Lazarillo de Tormes,
cap. 7. It would be worth while to identify this Luna.
His tale is an interesting patchwork of phrases and
episodes taken fi'oin othei" authoi's. I am inclined to
believe that the name Juan de Luna is not a nom de
plume; that he was merely a teacher of Spanish and in-
terpreter in Paris and London. After reading carefully
his three books: Didlogos familiares (in Spanish and
French, Paris, 1619), his Arte lyreve i Compendiom para
aprcndcr a leer, cscreuir, pronunciar y Jiahlar la lengua
espanola (London, 1623), and his Lazarillo de Tormes
(Paris, 1620), one is impressed chiefly by his lack of
originality, and his cleverness in putting together mate-
rial gathered from other writers.

431. tocauan los hoticarios

sus almirezcs a pino: "the apothecaries clanged their brass
mortars." The phrase is used of bells: "empinar la
campana, o taiierla a pino, es leuantarla en alto." —
Covarrubias, under pina.

Pages: Gran Diccionario de la Lengua Castellana
quotes Quevedo under almirez without exact reference :

LA DAMA BOBA 273

"El clamor del que iniiere empieza en ri ahnircz del
hoticario . . . acabase en las caiiipaiias dv la if^lesia."
"^Y que gusto me apercibe
un almirez al moler,
y un laeayo al patear?"
— Alarcon: No hay mal que por hien no vcnga,
I, xiv (Bonilla's excellent edition, p. 54).

437. Oziquimodio: The names of these cats recall those of
Lope's Gatomaquia, some of which are: Zapaquilda,
Marramaquiz, Maulero, Micifuf, Bufalia, Garraf, Gar-
finanto, Micilda, Zapiron, Tragapanzas, Golosillo, Lame-
platos, and others.

441. JiaMahan: the imperfect with & instead of u (-auan) is

rare in Lope's manuscripts.

442. en tiple: " [las gatas] maullando en tiple, y el gatazo en

bajo." — la Gatomaquia, silva 2.

443. gerigonza: jargon, gibberish; "vn cierto lenguage parti-

cular de que vsan los ciegos con que se entienden entre
si. Lo mesmo tienen los gitanos. y tambien forman
lengua los rufianes, y los ladrones que llaman Germania.
Dixose gerigonca, quasi gregigonea, porque en tiempos
passados era tan peregrina la lengua griega, que aun
pocos de los que professauan facultades la entendian, y
assi dezian hablar griego el que no se dexaua entender
etc." — Covarrubias. The Avord has been much dis-
cussed, but the poor guess of the Spanish lexicographer
can be replaced only by the equally unsatisfactory
modern conclusion "of uncertain origin" (cf. Murray's
Neu- English Dictionary, under jargon) ; also verse 918.

449. lo que arrastra honra: "base de entender que las ropas
rozagantes, y que llegauan al suelo antiguamente, las
traian los Reyes, y personajes muy graues; y por
vestido honroso se da a los clerigos que no pueden

L'74 MtTKS

tracr vrslitld (|Uf no lli'^uc por lo inciios al lovillo." —
Covarniltias. ( 'oi-rcas : Vinahularln dr li'ifraurs, <lc..
lias tilt' plirasc, ""lo (|iic arrastra lioiii-a. y arrast i-aliaiilr
las tripas" (p. 15)8).

" \() St' (lifja (pit' lo (pic arrastra honra ; siiio al contraiio.
(pio lo (pic lioiii-a ari'astra y ti-ac a iniiclios mas aiias-
tratios ipic sillas." (iraciaii. il Crilicnii. jiartc '.\(i, crisi
vi (CVjailor's edition. Madrid, 1!)14\ II, p. 22i).
"Si cs larj^o coiiio la liistoria,
arrastrara por cl siiclo ;
pcro lo (pic arrastra lioiira."

IjOIic: S(iiili<t(j(> (I Vrrde, III, vii.

4.")!!. pins: "haca rcinendada ; vicneii dc las Islas Scternptrio-
nalcs ])ara scruicio de los Reyes y grandes sefiores. El
nonibrc es de la tierra y lengiia de donde vienen." —

( "o\arrul)ias. Coiiiparc Frcncli pii , and clicvdl pic, and
Englisli ])ic(l and i)icl)ald.

484. corrcr gansos cinco a cinco: "Correr el ganso, regozijo que
se haze por earnestolendas, atandole en vna soga en
medio de la calle ; los que passan eorriendo proeuran
arrancarle el pescuezo, y come esta bien trauado suele a
vezes arrancarlos el de la silla." — Covarrubias. The
first reading of the manuscript was corrcr laiizas, which
Lope corrected, writing gansos over hnizas. Tlic printed
versions all have canas.

512. Sibila critrea: The sibyl of Erythrae, one of the twelve
chief cities of Ionia, Asia minor. — Cicero: Dc Divina-
tione ad M. Brutum, I, 18, speaks of her.

"^No es conocido [Christo,] mirad,

a las sibilas, poetas

diuinas, que del escriuen

heroycos y altos poemas?

Mirad lo que dizen del

la libica y la eritrea,

la de Cumas, la de Arabia etc."

LA DAMA BOBA 27.",

— Velez de Guevara: la Rosa dc Alexandria, III. Cf.
also Pedro Mexia: Silva de varia leccion, op. cil.. lilno
III, cap. 34; "Que mugeres fueron las Si])illas."

522. Eduardo: Lope has both forms, Dilardo (three syllables)
and Eduardo; it is probable that the present verse has
hiatus after sefiora, making Eduardo three syllables.

525. In this sonnet Lope ridicules his affected contemporaries

who favored conceptismo and cultcranismo in poetry.
I have discussed these poetic aberrations at greater
length in my introduction, and tried to show there, as
Avell as in my notes, to what extent these phenomena
were influenced by neo-platonism. The peculiar lan-
guage of the poets of the early seventeenth century was
not wholly new at the time ; similarities in phrase may
be detected in prose and verse running far back into
the fifteenth century. The novelty of the style lay
chiefly in the excess of it, in piling up its artificial fea-
tures to the exclusion of natural expression. It was
the abuse rather than the use of conceptos and culto
elements, that created their vogue and made the literary
world alive to their possibilities.

526. mi amor que a la virtud geleste aspira: compare "El amor

que a la virtud se tiene." — Cervantes: Galatea IV — a
phrase which occurs with similar ones in the midst of a
neo-platonic discussion. Cf. edition Schevill-Bonilla,
II, p. 45.

552. la: refers to yntenzion: the printed texts have se.

576. vete a escuelas: "los estudios generales (that is, a Uni-
versity) donde se ensenan las artes liberales, disciplinas,
scieneias, y diuersas facultades de Teologia, Canones,
Leyes, Medicina, Filosofia, Lenguas . . ." — Cova-
rrubias; note this use of the plural v/ithout the article:

.'7.5 NOTES

" Eso lie arf^'iiii' cs l)ii('ii()
para csciiclas."

— liOpi': /(/ I-^scldt'd ill st( ijitlan. I, i.
"Si futro cii csciiflas. iifritaii los iroi-i'oiU'S : —
; Ay. jjuania el pci-ro ! — Siluos y ccfcos,
y sosurro inejor (pic dc aiicjoiics."
— Dic^o XiiiUMUv, (Ic Eiiciso: ./ikiii Liiii)ui, II, jicar
Ix'^iiiiiinir.

."»7ll. PliifoH . . . i)i(si) corl iiKis: tlial is, llic iifo-jilatonisls ru-
joici' ill this ohsciirily.

587. La cliiridad

a fodos cs agradahlc: Although Lope himself indulged at
times in conccptismu and cultcranismo he always ad-
vocated clearness of style in his criticisms, lie makes
a distinction between culto, affected, and cuUa, cultured
in the best sense. In the latter sense Garcilaso was
culto: "Aquel poeta es culto, que cultiva de suerte su
poema, que no deja cosa aspera ni escura, como un
labrador un campo ; que eso es cultura, aunque ellos
diran que lo toman por ornamento. " — la Dorotca, IV, ii.
See also his "Diseurso en prosa sobre la nueva poesia,"
in Obras sucltas de Lope de Vega (IMadrid, 1776), IV,
p. 459.

503. Xo traijgas contigo [a] cjuien: on the mechanical omission
of a before or after a vowel, cf. verse 259.

610. Nise stumbles and falls: This stage trick, wliich permits
the lover to assist the young girl to rise, or to touch
her hand without arousing suspicion or offending cur-
rent etiquette, is one of several common devices, both
of the theatre and the novel. Cf . Lope : la Discreta
cnamorada, I, iv: (Fenisa lets her handkerchief fall,
so that Lucindo may hand it to her and address her) ;
el Accra de Madrid, I, ii: (Belisa falls and Lisardo

LA DAM A BOB A 277

helps her to rise) ; Tirso de ^Molina has the I'oHowiiij,'
scene :

DoFia MagdaUna. . . . (ap.) Uu favor,

me nianda amor que le de.
{Tropicza. y da la mano a Mireno)

\ Valgame Dios ! Tropece ; . . .
{ap.) que siempre tropieza amor.
El cliapin se me torcio.
Mireno. {ap.) jCielos! ^hay ventura iguaU

^Hizose acaso algiin itial
Vuexcelencia ?
Dona Magdalcna. Creo (jue iio.

Mireno. {ap.) ; Que la mano la tome!

— el Vergonzoso en Palacio, II, xvi.
Cf . also Par el Sotano y el Torno, II, i ; and Alarcon :
" — Jacinto, Lucrecia e Isabel, con mantos; cae Jacinta,
y llega Don Garcia y dale la mano " — la Verdad sos-
pechosa, 1, iv.

"No se si con cuidado, tropezo del ehapin, acudile los
brazos abiertos, y recibila en ellos, aleanzandole a tocar
un poco de su rostro con el mio."

— Guzman de Alfaraehe, II, iii, iv.

635. Hermoso soys sin duda, pensamiento: This apostrophe to
a "thought" is exceedingly common in Lope, and is a
dramatic device with the form and character of a mono-
logue. The latter is seldom satisfactory from an artistic
point of view, because Spanish comedy (la comedia
propiamente dicha), is intrinsically one of constant
action and forward motion ; so that monologues, however
brief they may be, assume an artificial character. In
tragedy the monologue is more appropriate on account
of the moments of pause and deliberation which occur
in every tragic plot. Apostrophes to a "tliought" may
be found in la Viuda valenciana: "Buen iinimo, pen-

ITS .\OTKS

saiiiiciito, (Ic l«'ni»'i'i(lii(l vestido." — 11, i-Jos Locos dc
Villi mid : "\'('t»' (icspacio. pciisjiinitMito iiiio." — I, xiii ;
(I lioho (III ('iili<fii>: ";, Diiiidf iin' llfvjis, |iciis;iiiii»'iit()
lot'O?" — 111. iii ; il I'l rin (hi Imrti hiiin: "Xucvo pcii-
saniiciito im'o. (ifsviiiifcido in ij viciilo.'" — 11, iv; la
Mii:<i (Il ciiiildrn: " Nccio pciisaiiiirnlo iiiio, (jik' cm lal
lociira liahris (la»io.'--l. xii : '/ ('(isli</i) sin n n</iiii:(i :
■ I )i''jaiii(', pt'iisaiiiiciilo ; no mas, no mas, mcmofia." —
1. i; and many otlu'r ])lays. Even in prose fiction Loi)i'
int!'odni'»'s this poetic sta^'c device: ( 'f. tlie romance in
'/ I'l n (/riiio (II sii pad in, lihi'o 15. in ()l)ras sneltas. \',
p. liOS:

' ' C'ohardc pensamiento,

pues todas tns proniessas,

bnflandose del alma

el vionto so las lleva."

Similar ai)ostroplu'S to "i)ensamiento" may also l)e
fonnd in other dramatists.

668. [las docc] que es numcro dc ijntcrcs: Don Luis Zapata has
a chapter in his Miscclanea, called "Grandeza del
nnniero doce. ' ' It is, like most of the volume, a heap of
absurdities, but contains items of ])opular interest.
Among the .scores of examples in which docc is used, he
cites : ' ' Doce, los famosos doce Pares de t'raucia ; doce
meses tiene el aiio; . . . doce horas da en Espaiia el
reloj, y no da mas . . . de doce ailos se puede casar una
mujer, de doce puede testar. Doce hijos hacen por sus
dias a un hombre hidalgo . . .; doce son los Consejos
principales que gobiernan nuestra machina . . . ; doce
leguas hay de Madrid a Toledo . . . ; una docena de
acotes es el castigo ordinario de un muchacho . . .y doce
gallinas y un gallo dicen que comen tanto como un
caballo. " Cf. Memorial historico espaiiol (Madrid,
1859), XI, p. 76ff. Lanrencio adds (vs. 681-4) :

LA DAMA BOBA 279

"p]n las doze el ofizial

descansa, y bastale ser

ora entonzes de comer

tan precissa y natural."
Tliis <}()<■' is ill Zapata also : " A las doce del dia se come,
los dias de ayiuio en especial" (p. 78).

681. elofisial: cf. note to verse 430 above.

693-700. .Yi.sT es ora unfortunada, . . . pUnivia uijrado, scstil,
quadrado, Jupiter hcnigno, trino are astrological terms
found especially in the vocabulary of culteranismo.
"Los planetas se aman el vno al otro. quAndo se miran
de aspecto henigno, que es trino, de distancia de ciento y
veynte grades, el qual es aspecto de perfeto amor ; o de
aspecto sestil, de la mitad de aquella distancia, que es
de sesenta grados del vno al otro; el qual es aspecto de
lento amor y de media amistad. Empero hazense ene-
migos y se aborreeen el vno al otro (luando se miran
de aspecto oposito, . . . que es de ciento ochenta grados
. . .; y tambien, quando se miran de aspecto quadrado,
de la mitad de aquella distancia etc." — Leon Hebreo:
"Di(ilogos de Amor," I, "Didlogo segundo," p. 347 of
the Nueva Mhlioteca de autores espanoles XXI : Origenes
de la Novela IV (Madrid, 1915). Cf. also Christobal
Suarez Figueroa, Plaza Universal (ed. 1733, Madrid),
p. 210 (dealing with astrological matters) : "Si la Luna
tuuiere aspecto . . . con Jupiter, las cosas correran
'benignas y propicias." Also p. 543, par. 7. Note also
the following passages:

"Tu, moro, astrologo false,

mira j que presto mentiste !

Pues, sin trinos ni euadrados,

sextiles ni oposiciones,

me traen el bien que aguardo."

— Lope: la Nina de Plata, II, xxi.

jso .\(rri:s

' ■; (^\\v pliiiicta ri^iiroso
iiiirc'i cii iispt'clo colli rario
la i-asa i\i' mi fort una ?''
— Veil*/, (Ic (lUcvara: La Ohluiminii a his tuinfins. Ill,
f. 2^)>^ ill Sifiinidd jxirh (h tniiKdias i scagiihis
(.Madrid. Ki.'^).

710-28. A'o rts <iii< tl sal (hi dincro

I'd d(l }!»(]( iiio adilauli .' (tc: FiVrr since llic days of llie
Arclipric.sl of Ilita. wliosc witty lines hct^iiiiiing "Mncho
fas el dincro, et imiclio cs dc aiiiar," are rea<l Avitli
pleasure today. Spanish writers have paid tribute to don
Dinero in original ways. Quevedo's hirilUi:

Poderoso cahallcro

cs don Dincro
is well known, and Cervantes has on several occasions,
especially in Don Quixote, Avritten of the relative merits
of i)overty and i-iches; Alenian, with liis love of nioi'al-
izing, speaks of them at length, as for example, in lo,
parte, libro 3°, cap. 1, of his Guznuin dc Alfarache, be-
ginning: "Para los adiiladores, no hay rico necio, ni
pobre discrete." But Lope, always presents an old sub-
ject in a new and ininiital)le manner; compare, for
example :

"BfJtran. /A quien pesa que le den?

Dime tu ; en el mundo, i a quien ?
Florencio. ^ No hay nadie ?
Beltran. Escuehame.

Florencio. Di.

Beltran. El medico esta mirando

cuando el de a oeho le encajas ;

el letrado cuando bajas

la mano al parrafo, dando;

el juez cuando le toca

la parte del denunciado;

LA DAMA BOBA 281

el procurador no lia dado
paso hasta (|U(' el i)lus Ic toea ;
el qvi(» escribe, solo atieiide
ciiando sacas el dobl(3n ;
eual(|uiera negociacion
de solo el dinero pende.
El que viene a ser tu amigo,
si nunca le has dado nada,
culpa tu ainistad honr-ada
y deja de andar contigo.
El que se pone a mirar,
no esta mirando aquel rato
si es flux, sino el barato
aguarda que le has de dar.
l Quien ha hecho algun placer,
que no espere el galardon ?

— la Noche toledana, I, vi.

746. jAsi fucra el alma! Pedro is far more partieulai" than his
master, and his preference of intelligence to mere
prettiness reminds one of Alarcon ^s verses :
"Si es boba la hermosa,
es de teiiido papel
una bien formada flor,
que de lejos vista agrada,
y cerca no vale nada
porque le falta el olor."

— Mudarse por mcjorarsc, I, v.

753. sails: The word in the MS. looks like sales, but the e nuiy
be an undotted i as elsewhere now and then.

769. I Amor? Desseo . . . de vna cossa ermosa: A di.scussion
of love along the same lines as here may be found in
Lope's Fuente Ovejuna, I, iv; see also la Dorotea, IT. iv.
The language and ideas of neo-platonism, especially as
voiced in Leon Hebreo, Didlogos de Amor, are fre-

»|UfiitIy rt'jicalt'tl l»y tlu' poets o\' Lope's (l;iy : lliev ;ire
rerieetetl ill pi'liet ienllv Jill types of poet ie ei'e.it ion. " V;i
tleclllivi IMjltOM (|Ue el imiiihre del jiiiior es \ 11 i vei'sn I a
(piahpiiera desseo, de (|iial(|iiier cosa (pie sea y de (pial-
(pjiera (pie dessee ; pero (pie ell espeeial se di/.e solaiiieilte
desseo de eosa liennosa." {Op.ril.. \t.'.\~~). Attain :"Fj1
amor limiiano. de (piien priiieipaliiieiite lialiiaiiios, es
propriaiiu'iite dt'sseo tie eosa liennosa, eoino dice IMatoii ;
y eoiiiUMiiielite es desseo de eosa hileiia. eoiiio di/,<' Aiis-
toteles. " ( |). :?S1). The interpretation of the paii'an
deities, ("iipiil. \'emis, .\|)()llo. ete., of lieallieii myths,
as found in Leon Ilebroo is repeated in the poets of the
Siifht (If Oro. Cervantes copies Leon Ilebreo extensively
in his Galatea, 1\'. tlie (U^finition of love, as un deseo de
hi U( :a recurring several times. Cf. the edition Sehevill-
Honilla, op. cit., lntroducci(')n, p. 21 ; Fitzmauricc-Kelly :
Ifistaria (!< hi litn-alnra cspanola (]\Iadrid, 1916), p.
130; and especially the great work of Menendez y
Pelayo: Historia do las ideas esteticas en Espana, TI,
vol. V (Madrid, 1884), p. 108ff.

701. < spirit us visiuos: "Lo (pie tiene facultud de ver, " — Dice,
de Ai(t., under visivo, with a citation fi-om Fragoso:
Cirugia UnivcrsaL I, cap. 37, "Por estos van los
espiritus visivos a los ojos, y entran las especies, o seme-
janzas de las eosas."

Leon Hebreo, op. cit.. p. 361, says: "del resplande-
ciente entendimiento dinino fue produzida la luz visiua
en el primer dia de la creacion, y en el (piarto dia fue
aplicada al sol. y a la luiia y a las estrellas. "

794. arriedro haya: A more popular and antiquated form of
arredro; cf . : "Comenzose a ofrecer a Satanas, dejo caer
las alforjas, llegose a el el estudiante y dijo : — Arriedro
vayas, Satan, cata la cruz," — Quevedo: Yida del
Buscon, I, iv.

LA DAM A BOB A 283

812. i,Amor.' locura, furor: Of the classical origin of this con-
ception, I have spoken at length in my 1)ook on Ovid
and the Spanish Renascence (BerkfUy, 1D13). Cf. also
the Acneid, IV, 101 : "ardet amans Dido, traxitque per
ossa furorem". Very apropos of this passage, Gaspar
Gil Polo says: "Aunque todos estos nonibres [del
Amor] son infames, peores son los que le dan sus niismos
aficionados, nonibrandole fnego, furor y niuerte ; y al
amar, llamando arder, destruirse, consumirse, y enlo-
quecerse ; y a si raismos nonibrandose, eiegos, miseros,
cautivos, furiosos, consumidos e inflamados." — la Diana
cnamorada, I.

819. El mas rudo labrador

a pocos cursos la adquiere: cf. Ovid and tJie Spanish
Renascence, op. cit., p. 38; Juan Ruiz says: "El amor
fas sotil al ome que es rrudo." stanza 156.

823. vna dulce enfermedad: cf. Ovid and the Spanish Rena-
scence, op. cit., p. 58ff.

826. sahanones: "enfermedad que suele dar comunmente en
los pies y manos y si da en el talon le llamamos friera."
— Covarrubias.

"Si mi sefior te ha engafiado,
no vuelva a Madrid jamas.
j Plega a Dios que un ignorante
me lea, ilustre sefiora,
perversos versos un hora !

Que se aficione a capoues
mi dama por voces vanas,
y si tuviere tercianas,
me curen por sabaiiones. "
— Lope: el Premio del hien hahhir. IT, ii.

2h4 NOTES

S:5() > s In: lid I iifi iidiiiiii iito innor: one ot" the cdihi plos ofti'ii
found in tln' i-flijxious verse of tlic seventeenth century,
hilt referring to il (inior diniiio. It is t'ouiHl in similai'
forms in Leon Ilcln-eo.

S3iJ. (i(sn n(i<;i^tfs. fVc' 'I'lie i^'noranee of I'^iiica may he eom-
|)areil with that of A^nT's in MolirTc's : L'itoh (hs
fininiis; thefe ai'e simihir i(h'as in hoth plays.

SiVi. p<pih>n'a: a stew: "Senor lieeneiado, k> pi'imi'io (|ue tengo
th' (|uitar (h'ste su lihro ha de ser el tituio (|ui' h> pone,
Haniandoh' Pei)itoria. — Preguntoh' (|ur por (|U('. y res-
|)on(li<'de: — porcpie hi |)epitoria Ih'va |)ies y eaheza :
l)ero este su libro ni Ueva pies ni eabeza." — Gaspar
Lucas Hidalgo: Didlogos, op. cit., lib. 3°, cap. 4; "La
sefiora su vecina la desmenuzaba toda, y haeia pepitoria
de to<los sus mienibros y coyunturas." — la Gitanilla, p.
25, edition of Rodriguez I\Iarin in Clasicos castellanos,
XXVII; cf. also Velez de Guevara: el Diablo cojuelo,
tlie edition of Sr. Bonilla, op. cif., pp. 15 and 213.

861. saco de vna carta vn naypccito: Octavio hands Finea a
picture of Liseo, drawn on the back of a playing card.
According to a passage in Lope's Perihdnez, y el Comen-
dador dc Ocana (cf. Bonilla 's edition, Madrid, 1916),
a painter draws his first sketch of a portrait on a play-
ing card (naipe), throwing it afterwards on a larger
canvas :
"Pint or. A servirte vengo.

Comendador. •jjTYaies el naipe y colores?
Pintor. Colores y naipe traigo.

Comendador. Pues, eon notable secreto,

de aquellas tres labradoras,

me retrata la de enmedio,

luego que en cualquier lugar

tomen con espacio asiento.

LA DAM A BOB A

28:5

Tint or. Qiu' sere difieultoso

temo; pero yo me atrcvo
a que se parezca muclio.
Comendador. Pues advierte lo que quiero.
Si se parece en el naipe,
deste retrato pfMjneno
quiero que hagas uno gi-aude
. con mas espacio en un lienzo.
Pintor. ^(^uieresle entero?

Comendador. No tanto;

basta que de medio cuerpo,
mas con las mismas patenas,
sartas, camisa y sayuelo."

— I, xxii.
In a very amusing scene (el Ausenie en el lugar, III, iv)
Carlos pretends to tear up the letters and pictures of
Elisa to make her believe that all is over between them.
Unfortunately he has nothing to tear up in his pockets,
so he turns to his servant :
''Carlos. jTienes un papel ahi?

Fingire que los rompi. {ap. a Estehan.)
Estehan. Buena industria.

Carlos. Amor me advierte.

Estehan. Si a darte otra cosa vengo

tan buena, no has de enojarte.
Carlos. No hare.

Estehan. Pues escucha aparte.

Diez 0 doce naipes tengo.
Carlos. I. Naipes ?

Estehan. Son para eneajar,

si necesidad se ofrece.
Carlos. Muestra.

Estehan. Liistima parece.

Carlos. Estotros puedes guardar. —

(a Elisa) Elisa, hoy te dejo rota,
hoy rompo . . .

28J SOTKS

Hsttlhiii. !(//>. n su amn.^ y piidirrn scr.

si t'ucr;i mala iiiujcr ;

V roiiipi's al^Miiia sola.
('arlos tlicii It-ars up several playiiiir eai'ils uiidei' Klisa's
window, and departs. Tlie lattei' pr(>iii|tt ly despatelies
.Maripiiiia. and her servant I'ania, lo examine liie t'rafj;-
ments. wliile she i-eniains at the \\iii(h)\\.
" I'tiiild. ; Kasfj^olos 1()<h)s a(|ui.

( 'arh)s (Miando se jjartin ?
/■:iis(i. Si.

MarqiiiiKi. Nai])es s<ih) halh) yo.

Paula. <, ("omo?

Maiuiiiiiia. Naipes.

I'd Ilia. ('Xaipes!?

Marqiii)ia. Si.

Paula. Mira no sea el relrato,

que esta en naipe.
Marquiiia. Lo que ves.

La sota de bastos es.

Jugo, perdio y dio barato.
Paula. ]\Iira que el reves sera.

Marquina. Per aca no hay otra eosa."
Cf . also la Dorotca, I, v ; IV i ; V, v.

The three picture cards of the Spaiiisli deck are: a
crowned figure {rey), a figure on ]iorse])aek {cabaUo),
equivalent to our queen, and tlie knave, a standing
figure (sota). Apparently Liseo's picture recalled the
latter, being the image of a young man, but only as far
as the waist, and, therefore, differening fi"om Ihe usual
.<;ota in having no legs. Cf. the phrase: "que es sota, y
nniestra los pies," in Tirso de Molina: La Villana de
la Sagra, I, i; "buscar los pies a una sota" in Alarcon:
Las Paredes oijcn, II, i. This may bo another reason for
Finea's surjn'ise on seeing her prospective husband on
a playing card, but without legs, for she exclaims: "que
no tiene mas de cara, cuera y ropilla" (vs. 870). On

LA DAMA BOBA 287

the national popularity of all kinds of cai'd ^'amcs sec
the interesting note of Pflliccr to liis edition of Don
Quixote, II, cap. 49; also the notes of ('leini-nein to the
same chapter.

869. cl negro del marido: "Es color infausta y triste. y come
tal vsamos desta palabra, diziendo: negra ventui'a, etc."
. — Covarrubias; ef . : "la negra orden de caualleria," —
Do)i Quixote, I, iii.

901. retrafado: for retratada; Lo])e may have referred nncon-
sciously to Liseo.

907. llegad sillas y almohadas: that is, "bring chairs for the
men, and pillows for the women." The room in which
women received gentlemen had an estrado (cf. verse
2449 below) or a kind of low platform covered with a
carpet. On this were placed special almohadas de
estrado, and while the men took the chairs, the women
seated themselves, presumably after the Moorish fashion,
on the pillows. The evidence for these facts is extensive,
but I shall select only a few references. Compare the
following jiassages :

"Sola en casa de Aurelio.
Aurelio, Octavio, Elisa, muy gallarda de novia; Mar-
quina, escudero, etc.

Aurelio. Llegad las sillas. — Tu, querida Elisa,
ocupa esta almohada."
— Lope: cl Ausente en el lugar. III. xiv.
Elisa, it will be remembered, is the only woman present.
Cf. also II, X, of the same play; furthermore Los Me-
lindres de Belisa. I, ii ; and la Dorotea, II, v.
' ' Estaba el rico estrado,
de dos pedazos de una vieja estera
hecha la barandilla,
de ricas almohadas adornado

288 SOTKS

I'll tariiiias dc corclio. y por dcfiu'ra
v\ fjravc adoriio dc una y otra silla ;'"

— Lopt' : Id (i(ihnnti<ii(iii, silva f).
"Sf fiitri'i >• admiti('» una silla, con i|ni' \r coiix idni'oii.
Si'iittisc la daiiia fii iiii cslrado (|U(' lial»ia dc ra/.()iial)lt's
coijiiics CM una sala, cuyo adorno era Ar uiios >jjuadaina-
cilcs. a! t|uilai' cuando los pidicsc su ducno."- — liiuau y
\'»'fduj;(): (iiiid n iiristis di Forash ras, "novcla y cs-
cariuicnto (luinto."

"Cainiia Ic rcspoudiit. (luc mcjoi- i-cposaria en d cstrado,
(pic en la silla, y assi Ic roj^o se cnlrassc a dorniir en el."
— Don (Juixotr, I, cap. xxxiii, f. li)2r.
C'f. also the "Carta de dote otorgada por Miguel de
Cervantes a Dona Catalina de Salazar Vozmediano, su
niuger," tlie list containing, among the usual household
goods, una abnoada dc cstrado de vcrduras; in Pellicer,
Documentor . . ., p. 207 of his Introduction to Don
Quixote (Madrid, 1797).

Among the hienes dotales y provio caudal of Isabel
de Cervantes are mentioned: "quatro almohadas de cs-
trado, de terciopelo negro," and "otra alombra de cs-
trado." Perez Pastor: Documentos cervantinos
Cyiadrid, 1897), p. 149.

918. xerigonza : in addition to the signification given, verse 443,
also means hoax, trick, or deceitful game, a mystifying
or ridiculous occurrence. Compare :
' ' Sotanitos de Madrid,
jerigonzas encubrid
con las trampas de una ealle."
— Tirso de Molina : Por el Sotano y el Torno, III, xi.
The Die. de Ant. cites Espinel: Marcos de Ohregon,
"hacia el gitano mil gerigonzas sobre el macho, de
manera que tenia ya muchos golosos que le querian
comprar, " I, cap. 16; Cejador: Tesoro: Silhantes, I,
no. 30, p. 102 thinks the word of Basque origin.

LA DAMA BOBA 289

923. Iidhlaiia en: cf. "hablando cii d diKnn' dr All)a <'1c."'

— Lope: Al pasar di I iimijio, II, i.
"hal)la oil los roves a tiento."

— Giiardar y guardarsr, II, i.
"Ansi ostiiuimos hasta la iioolio, hablando en cosas que
me preguntaua."

— Lazarillo de Tonnes, III.
Cf. also Hanssen, who says, of this phrase, Gramdtica
historica de la lengua castellana: "pertenece al lon-
giiaje antiguo" (p. 299).

950. tanto el jo se le acomoda: jo, the call of muleteers to their
beasts to urge them on, and so more appropriate for
the silly Finea than joyas, jewels. The Die. de Aut.
cites Quevedo: "Asimismo declaramos que no de a
ninguna muger joya ninguna, so pena de quedarse eon
el jo eomo bestia." In Premdfica del tiempo, Ohras,
op. cit., I, p. 440 ; of. also Jacara, no. 7 ; III, p. 105 :
"Llegamos a la ciudad
con sus arres y mis joes."

"No haya miedo que me aturda.
Con un palo y eon un arre,
y un jo, que te estriego, suelo
dar con un hombre en el suelo."
— Tirso de Molina: la Villana de Vallccas. I, xiii.
This same phrase occurs in Don Quixote, II, cap. 10,
f. 35r.

955. Haraos mal el agua sola.

Traygan vna ceixa: cf. above, verse 50. In la Dorotea, II,
iii, a similar idea is expressed: "No bebais que os hara
mal sin comer algo. Trae una caja, Celia, o mira si ha
quedado algini bizcocho do los {|uo me envio mi con-
fesor."

959. vn menudo: "se dize el vientre del carnero con manos y
cabeza." — Covarrubias. Other animals, and birds, how-

.»s»o \<>Ti:s

rvcr. wiTf also used. 'I'lif ciil rails ami sufli jiarts as
WTi't' iiiclihlcd ill the preparation wrrc tiist cafcriilly
wasln'W, and a<'f(tr(liii<; \o soiiic descriptions, even
.sci'uhlx'd with soap { i iixdlxiiHir) . In l-'raiieisco Mar-
tinez Monlifio: Aril ih Coziiia. | .Madiid, Kill]? may
he found the t'ollowinf^ recipe for run i di/xdkkIii tie
nKiiUilos (h ixiKiis, i". LMSv and 'Jllh': "Toniai'as vn
nienndo de |)auo, (pie son los alones, _v el pescueco, y
h)s pies, y la iiiolle ja ; Incfj^o desollaras los pescueeos,
y haras vn relleiio con hijj:adillos de los iiiisnios paiios,
o de aues. iVieiido VII poeo de to/ino, y ceholla, y los
hi.uadillos. y echales vn poco (h' yernahiiena, y luejro
echa (piati'o hueuos cnulos, y rebuelu<'lo sohre la ]iiiid)re,
hasia (|Ue este hieii seco ; luejjo sacalo al tahlero, y piealo
iiuiy hien, y ecliale vn po<piito de pan rallado, y echale
dos hueuos erudos, y saeona [lo] con todas especias y
ag:rio de linion, y sal ; y con este relleno henchiras la
niorcilla del pescueco ; luego toinaras los alones, y
pelarlos has en agua, y cortarles has las puntas, y
cuczanse assi cnteros, y cortaras el pescueco por medio,
y cuezase todo junto con la molleja y los pies y la
morcilla con vn poco de agua y sal y tozino; y despues
de eozido sacarlo has que se enfrie, y haras vna masa
dulce conio de enipanada Inglesa, y empanalo con ella
(y), echando vnas lonjas de tozino debaxo, y saeonarlo
[has] de sal, y especias, y echa otras lonjas de tozino
encima, y cierra tu erapanada, y cuezase ; y aduierte,
que para cada empanada son menester dos menudos
con sus dos inorcillas de los pescueeos; y si no huuiere
pauos, se puede hazer de gansos, nmque no son tan
buenos, y si fuere en dia de carne, podras hazer el
relleno con carne en lugar de los higadillos." Martinez's
book makes amusing reading, but I do not recommend it
to people with weak stomachs.

In the Bihlioteca de la mi(j( r. dirigida por la Con-
desa de Pardo Bazan : la Cociua rspanola a)itigua

L.( DA MA liOJ.-J 291

(]\I;!(li'i(l. s. a.), ['• 23!), the i-cadcr will find aiiiitlicr
recipe for un Menndo a lo gitano: "Lavcnsc en agua
caliente los eallos y tripas; vuelvaiisc a lavar y a
restregar eon vinagre y limon. Cortciisc en pcdazos
chicos y echense en la olla, con agua y sal. una )iiano
de ternera deshuesada, jamon cortado en pedazos, un
chorizo pieante, algunos garbanzos ya reniojados, el
zumo de medio limon, dos cabezas de ajos enteras y
jiimcnton Colorado; dcsliase en d nioftcfo un iiiigaji'ui
remojado en agua satiirada de azafrj'in, cominos y
cilantro, con un poco de caldo del mondongo; auadase
al guiso, dejese espesar, y sirvase muy caliente." The
preparation of this dish is naturally to be found in no
modern dictionary; as far as I know, the menndo is
mentioned especially in the literature of the seventeenth
century. Cf . also Lope 's la Gatomaquia, silva 6, vs. 332ff .
(Stage direction after 960). Eniren con agna, toalla, salha
y vna caxa: of salva Covarrubias says: "la pieca de
plata, 6 oro, sobre que se sirue la eopa del seiior, por
hazerse en ella la salua, ora sea el maestresala, ora por
el gentilhombre de copa.

984. Adios. ;Ola! On various occasions Lope puts tliis ex-
clamation I old! into the mouth of a hoho, or of one
playing the fool, and not as a greeting. It is manifestly
intended as a sign of Finea's simplicity. Compare:
" Garceran. j Hola, aho! mirad que rabio ;
por eso mandad sacar
la merienda. "

— el Boho del Colegio, II, xvi.
"Asimismo mandamos que ninguno llame a nadie di-
cieudo: Ola, hombre honrado — ,por(|ue nadie, mientras
este vivo y sano. es honrado con ola, porque las honras
se suelen hacer a un muerto, pero no a un oleado, (jue
aun vive."

— Quevedo : Prenidtica del Tiempo, Ohras, op. cif..
I, p. 441.

•JVC SOTKS

liiJI. f j( f nut tuhu II Mart <> Ttilio: Tlu' iiifrrinrily of llic youiit^MT
( 'iciTo, wlini coinparrd with liis illiisti-ious fallicr, bc-
ramc a Iratlitioii stai'tcd prrliaiis l>y a lew t-liaiiff ullci--
HiKM'H. Tims S«'iH'cH, tlif ilit't orii'iaii, says ol' him
{Siinsniiiii . 7, i:{) that hi- was "homo (|ui nihil tx pa-
trrno iii^'i'iiio halmit pi-actcr iirhanitatciii. " My Iriciid,
|)r. '!'. rrtt'i'ssfii, calliMl my atlnilioii to Tin Cnrns-
jiiiikIiiki of ('in III \)\ TyiTcll and Pursrr (London,
lSi>7), whit'h has a detailed inti-oductoi-y ai'tieie on
Marcus Cicero the Vonn^'er, \', |>. IvilV. A popular
essay on the son may he round in l^\ F. Ahhott, Snrich/
mill rnllliis ill Aiiiiiiit liiiiiii (New Voi'k. I!n2), ]».

iinir.

l(l;n. iiisifiiiisi ((irfiis: so tin- mannsei-ipt seems to nie to I'ead,
althoM^di the pi'esent suli.jnnct i ve, which Tjope would
write riisi/i II ( et". t'oi'ms like lh(f\ii\i, etc.), ma\' hav<'
lieen intended, ii and ' are occasionally liai'd 1o dis-
tiii^Miish.

]0'.V2. iiliiffiiii iisoni ciiiipni hi lihi rlml : a sentiment frequently
expi'csscd in Lope's day. ('f. the Ijatin i)hrasc: "non
bene pro toto lihci'tas veiidilur auio"; and Schevill :
Oriil (111(1 till III iiascnice in Spain, up. rit., p. 2()S. The
line also rec;ills Lope's l)(';iiit it'ul III iiiii'in tM'^-iiinin<; :

";() lihcrtad preciosa,
no comparada al oi"o,
ni al hien mayor dc la espaciosa tici'i'a!"
Compare also:

";() lihcrtad, gran tcsoro,
poi-(pic no hay buena i)rision,
auntjuc fuese en grilles de oro!"

— la Niria de Plain. II, ii.

Acfo SI (/undo: a room in Octavio's house, jx'i'haps the same as
in act fii'st ; we must imagine it neai' the garden.

LA D.iMA HOI! A ::!•;{

1082. {(iDKir] (s (I ddtor: this I'ccjills tlif litlrs of Tirso's ti

Amor inidico, and Moliri-c's rAmoiir iii<'<l< t in. Tlir idea
goes back to Ovid.

1083. vatvcda: on ininspuaicion, a conunon popidar itliiiioiiii-iion,

ef. liansseu, op. rif., p. 67; coinparc:
'' Castillo. Nos lian pucsto, senoi-, dc ari'il)a aha.xo

conio inicuos.
Duquc. ^PoiMpic;'

Latino. Porcpv^ nic lie opiifsto . . .

Castillo, a vna cafrrda, y luandnlo vii liadajo,

Villanucua, (pic i)aga a cstos goi-i-oiics
a seis maraucdis cada gai'gajo,
cliico eon grando."
— Diego Ximenez de Enciso: Jiian Ladtio, FI, f. 44r.

1087. Platan . . . Aristotdvs: Leon Ilehreo in liis Dialogos,
op. cit., discusses the opinions oi" Plato and Aristotle
on love at length, p. 378ff.

1000. The three verses t'olh^wing 10!)0 are eliminated in tlie manu-
script, and, according to the ink, by Lo])e himsclt".

lOOOff. Practically all the ideas of this speech,— that love taught
men the arts, how to live in connnnnities, to make laws,
create republics, in short, that tliis motive force wonld
be Finea's best teaclier, — these ideas ai'e taken from
Ovid's Ars amatoria and the Rcmedia amoris. modified
by neo-platonic ]>hilosophy which made love a very
comprehensive influence hard to deflne. It covers a
wide range of motive forces, being a love oi- desire of
every kind, a desire of possession, a desii-e of beauty, a
desire of action and the like.

1063-1321. The dialogue of act II, i and ii, especially between
the young men and Nise, is a good example of conn p-
tismo and cultcranismo in a mild foiin. In as mndi as

L'l»» NOTES

Lope iiiti'iiilfil tlu'Sf sccm-s to l»r a f^ood-iiaturt'd saliri'
on tilt' alVi'ctatioiis of society and its i'alsc notions of
pofti'v and culture, the conversation is naturall.\' not
clear, aiiti the vocalmhiry intentionally ahsurd. of ciilhi.

11(14. forliina il titmpo torrio: I'ortnna in llie sense of "stoi'Mi""
is I'onunoii in the writers of tlie Kenascence. "Saliendo
fon gran prosperidad. a poeas h'guas eoi-i-iei-on fortuini."
— (I l)(i>i(i<l() liabliulor, op. cit., 1, cap. S.

1171. las colons: masculine or feminine; Cei'vantes uses l)oth
about o(iually.

117."). The thi-ee speeches, that of Duardo, vs. 1155, of Feniso,
vs. 1175, and of Laurencio, vs. 1195, of equal length,
represent a kind of balance in dialogue, rather com-
mon in Lope's dramatic art. The most artificial ex-
ample may be found in la Noche tolcdana, III, xi-xv,
in which the various lovers appear on the scene, one
after the other, each reciting a sonnet "to Night,"
the last two lovers splitting a sonnet between them, by
reciting a verse each, with the exception of the last
verse, of which each has a word. Even Calderon could
have gone no further in artificial dialogue. In these
speeches, the three young men are plainly cultos,
Laurencio being a trifle more metaphysical and dark
than the others. Cf. the Introduction on Lope's art
also, p. 46.

1274. donde ay tantos vendahales
de ynter esses en los honhrcs,
no fue milagro mudarte:

"iMudose aquel vendahal?
I Vuelves a buscar tu igual
o te burlas y entretienes ? ' '

— Lope: el Perro del hortelano, II, xvii.

LA DAMA BOBA 293

1297. Astroloyo nie parczes;

que sienpre de agenos males,

sin reparar en los suyos,

largos pronosticos Jiazoi: Tlic asti'olo<,n('al iini)oster is fi-c-
quently mentioned in fiction and dtaiua. Conipai"-:
"Vivia en sii vecindad un astrologo, grande liombre de
sacar por figura los sucesos de las casas agenas, cuando
quiza en la i)ropia, mientras el consultaba efemerides,
su muger formaba otras, que, criandose a su costa, le
llamaban padre." — Tirso de Molina: Los trcs maridos
hurlados: l*"" burla.

"Cierto esta que este mono no es Astrologo, ni su
amo ni el alcan, ni saben alcar estas figuras que llaman
judiciarias, que tanto aora se vsan en Espaiia : que no
ay mugercilla, ni page, ni eapatero de viejo que no
presuma de alear viia figura, como si fuera vna sota de
naypes del suelo, ecliando a perder con sus mentiras o
ignoraneias la verdad marauillosa de la ciencia." — Don
Quixote, II, cap. xxv, f. 98v.

In Persiles y Sigismunda, Cervantes speaks of hi
Astrologia judiciaria several times; ef. I, cap. 13. Dona
Maria de Zayas y Sotomayor (el Castigo de la miseria)
also depicts the fraudulent practices of an astrologer.
There can be no doubt that current popular supersti-
tions favored these practices, although they were con-
demned by the Inquisition. Cf. H. C. Lea: A History
of the Inquisition of Spain, IV, lOlff. Lope mentions
them frequently: el Boho del Colegio, III, xv; el Au-
sente en el lugar, II, xi; la Dorotea, V, viii, and in other
plays.

1307. The two verses following 1307 are eliminated in the manu-

script.

1308. [los romances] no pueden ser consonantes: The oldest

ballads, and the best, were composed in assonant verse,
not rhne (consonantes).

•2iU\ XOTKS

l."?ll. . . . a h>s ami</(>s

prill lid III nniKi // /(/ r(ir:(l: ("(irrc-is, Vncdhiilitrin, p. '.Vl\ ^
liiis: " ( "arcflt's y caiiiiiKis, liaccii aniiiros, " ami Alciiiaii,
incm/ni ih Alfanicln , '2(i, pai'lc, lilir. 'A . cap. 7. also
calls In carct'l "piMicba dc aiiiif^os." ("ompair Lope's
play: /(/ I'niibiitli las (iini<j(i.s, i\vs\ printed in 1S7;!.

1M17. /)i>r n (/iilos hijios lube

inudanzua itc: Amoiitr the ^ilts wliicli Io\-ei's <iavi' wei-e
jewels, finery ol' all kinds, costly cloths (jxnlos), and
even hoiist' t'uj'nisliinj,'s. ('t'. In Viiidn nilciiridiui, III,
ii ; /(/ Noclir toUdana, I, xiii and many other scones in
Lope's plays. Lope's women, however, seem moi-e jirone
to receive than those of other playwrifflits; as a matter
of fact, women of relincment and culture wei'e satis-
tied with the mere offer of ]iresents. Cf. De cosario a
ciisarid, 1. vi, and iMarei'm "s : hi ]'( rdod s<isp( cliosa,
1. V, wliere Jacinta says to her admirer:

"Yerran vuestros pensamientos,
caballero, en presumir
(pie puedo yo recebir
mas (pie los ofrocimientos."
Cf. also ]\liss Bourland's edition of las Parcdcs oijoi
(New York, 1914), p. 173.

1347. d I'rudo: meaning here the same as in verse 1341), los
Recoletos: The Prado vie jo consisted of three parts:
Prado de Atocha, Prado de San Jeronimo, and Prado
de Recejletos. The last named section was a popular
spot on account of some of its parks and gardens to
which tlie peoi)le went for recreation. "Como con-
traste de tan ostentoso aparato profano, en medio de
todas aquellas mansiones de animaci()n y de placer, otro
■ austero convento elevaba alii tambien al cielo sus
religiosas torres; era el de padres Augustinos Recoletos,
fundaci(')n de doiia Eufrasia de Guzman, princesa de

LA DAM J no I! A 297

Aseuli, niai'(iii('sa dv TciTaiiova, cii ir.!)")." .Mcsoikm-o
Komanos: rl Antixjuo Madrid, op. cif., p. 226.

1364. I have indicated the nlbrica wherever it is i'oiiiid in tlic

manuscript, as it may be possible that such parts of
the play as are included between two rubricas (when
these come at the end of a scene or an act), were written
in one session, without intt'rrui)tion.

1365. Vn maestro de danzar: Espinel wouhl not have approved

of the way in wliich Octavio was educating his
daughters, since they saw all of their visitors freely
and even had a dancing teacher. He says: "Quanto
peor haeen los padres que dan a sus hijas mae.stros de
danzar, o taner, cantar, o baylar, si han de faltar un
punto de su presencia ! Y aun es menos daiio que no
lo sepan ; que si han de ser casadas. bastales dar gusto
a sus maridos, criar sus hijos y gobernar su casa. Y
si han de ser monjas, aprendanlo en el monasterio; que
la razon de estar algunas disgustadas quiza es por
haber ya tenido fuera conuniicaciones de devociones,
que por honestas que sean, son de hombi'es y mugeres
sujetos al comun orden de naturaleza." — Marcos de
Ohregon, parte la, descanso 2°.
Cf. also note to verse 216ff.

1379. Co)t que yo saiga de dvda

que no es alma la helleza: Leon Hebreo, in accordance with
his philosophy, states that real beauty lies in tlie soul.
or spirit. To this, no doubt, Lope refers. "Tambien
te mostre que las mayores hermosuras consisteu en las
partes del anima, que son mas eleuadas que el cuerpo,
etc." Didlrjgos de Amor, op. cit., p. 422.

1382. true manana vn tanhoril.

Esse es instrumento vil: Of this instrument Covarrubias
says: "atambores pequeiios para fiestas y regozijos."
Cf. also Lope's song:

2i>S \OTES

"; Oil (|Uo liii'ii (|iu' Imila (lil
con los nio/.os dc Harajjis,
la cliacoiiii a las soiia.jas
y fl \ illaiio al tainhoril '"

— Al pasdr (III urnnio. I, xii.

1385. Qur siiif nniii afKiinuuJa

al cdscalx I, os vonfitsso.

. . . qur no rs mucha rusti(j[ii(:(i

(I trahdlos < it los pics. —

Harlo pfor picnso que is

trahdlos in la cahiza: Compare: "Los danrantcs cii las
fiestas y rej^ozijos se j)onen sartales de easeabeles en los
jariTtes de las j)iernas, y los inuencii al son del insti'U-
mento. . . . Las azemilas suelen lleuar sartales de
easeabeles, assi para que sean sentidas, conio para
animarlas. . . . Al que tiene poco juyzio. y es liuiano
y habladoreillo, dezimos ser vn cascabel, por ser vacio y
huceo en el liablar." — Covarrubias.

1399. (^apatcro: tbe manuscript capatcro.

1404. Three verses following 1404 are eliminated.

1419. Pursto que: equivalent to aunque.

1449. asilla: "Tomar asa, 6 asilla de alguna eosa, vale tanto
como oeasion, y aehaque." — Covarrubias. under asa.

1455. At this point of the dialogue a few verses have been erased
and are very difficult to decipher. They are presumably
verses which Lope eliminated and then rewrote as they
are in the text.

1468. aprcnder: ant. for prender; Cuervo Diccionario (I, p.
562) cites: "Luego se aprcndio mueho ahiua, e comenzo
a arder la rua. " — Conquista de Ultramar, 2:77.

LA DAMA BOBA 299

1472. cahfzadas: The reader will rciiiniiixT tli.il tlic pun lies in
the double meaning of cahezala: a "noil" of tlie liead
which accompanies sucnos, and a "halter" or "head-
strap" which accompanies rocincs.

1477. como el santo do Paxares: "El milagro del santo de
Pajares, que ardia el y no las pajas. " — Correas, op. cit.,
p. 105. Quevedo, in his Premdticas y arancelcs gene-
rales, Ohras, op. cit., I, p. 430, says: "Quitanse por
nuestra prematica los modos de decir siguientes," and
then he includes santa de pajares. I take this to be a
misprint foi- the more common santo de Pajares, to
whom Quevedo refers again in his Visita de los Chistes,
I, p. 347: "Yo me queria ir, y oigo que decia el santo
de Pajares: Ah, compaiiero, decildes a los del siglo
que muchos picarones que alia teneis por santos, tienen
aca guardados los pajares ; y lo demas que tenemos que
decir se dira otro dia." According to some lists of
idiomatic phrases (cf. Becker and Mora, Spanish
Idioms (Boston, 1886), p. 308), the meaning of the
one quoted is hypocrite.

1480. aladares: "los cabellos que nos caen delante de las ore-
jas." — Covarrubias. This nmnner of wearing the hair,
in the case of men no less than women, was especially in
vogue in the seventeenth century, as may be seen on the
portraits by Velazquez.

"venga el perfil
de uno de aquestos mozuelos
que rizan los aladares
con molde a fuego."
— Lope: Quien ama no haya ficros, 1, iii.

1486. lahrar con hidro vn porfido: porfido: "vna especie de
marmol roxo obscuro, propiamente purpureo." — Co-
varrubias. Compare :

MHt soTi-:s

" I'cro t's ljil)rar «'M uii jasjn'
{•on nil vitli'io una <i«,'ura."
— Lope: las l'!inl)i(slis ih CiUnn'o, 1. xvi.

Tile t'oi'Mi ridrn is very ('oimiioM in Lope's time; ct'. iiott',
verse r)G.

I.IOS. (/* /(/ (uiiihmia th mi lurniaiia Nisc: liei-e used merely to
indicate tlu' litei-aiy «;atlierin^s of the iuUos and nni-
(( pfisfas of whom Xise was the central tij;ure. "Tsui'-
pan este ii()nd)re otras (|uali'S(|uicf Kseudas de Artes
lil)erales. 0 ciencias. nue tieiien alj^un espleiulor, en cuyo
sentido son (|uasi innumerahles las que pudieran rcfe-
rirse en Espana. Pero la fonnalidad de Academia la
tiene solo la ({ue es ere<rida poi' el Princi))e, o en virtue!
de su priuilegio. " — Christohal Suarez Figueroa : Plaza
Universal, op. cit. (edition 1733), p. 283. On these liter-
ary academies cf. below, note verse 2126.

1513. (I Undo: "Dezir el varon liudo al)S()lutameiite, es llamarle
afeminado. ' ' — ( "ovarrubias.

"Tambien enflaquece oir
malos versos, cantar mal,
y al que era ayer vuestro igual
hoy niandar y hoy presuuiir.
Entlaqueee una visita,
si no OS da nuicho contento ;
un noble lleno de viento,
que a nadie el sombrero quita ;
un Undo, todo alfenique,
hecho mujer eon bigotes,
y unos eiertos marquesotes
que OS hablan por alambique."

— Lope : el Bdho del Colegio, I, iii.

LA DAMA ROhA 301

"Gerarda. Luego ^ireciaste de liiuhi.'
Luri)id(). (•Dcliiulo? Donaire tienes.
Precioim* de hombro."

— la Disrrf t(i < lutmonuht, I, ii.

Cf. also the passage in la Viuda valoiciaiui, I, iv, be-
ginning with the lines,

' ' i No sino venga iin manee])o
destos de ahora de alcor^a etc."
There is also a new edition of Moi-cto's d Linda don
Diego (Madrid, 11)16), witli a good introduction by
Narciso Alonso Cortes.

1581ff. This scene may be supposed to take {)laee behind the
Recoletos in some secluded spot.

1600. a verse of twelve syllables.

1608. la Ventura de la fea:

"Reina, pues que tan dichosa
te hara el cielo, dnlce esposa,
que te diga quien te vea:
— La Ventura de la fea
pasose a Casilda hermosa."
— Lope: Perihdnez y el Comcndador de Ocana, 1, i.
Cf. also Cervantes: el Vizcaino fingido, Eniremescs
(Bonilla ed., Madrid, 1916), pp. 90, 91 and note 159. Ac-
cording to la Barrera and others. Lope also wrote a
play entitled la Ventura de la fea, but nothing definite
seems to be known about it. On a coniedia with the title
la Ventura de la fea, cf. an excellent article by Professor
Buchanan in Modern Language Notes, XX, 190"), p. 39.

1618. Entrad con esta rum/la: "Runfla: la multitud de nn
mismo genero, o especie de cosas quo estan una en pos
de otra." — Die. de out. As a playing term it appears to
mean "a hand, or a miscellaneous number of cards" :

302 \OTES

**. . . ; Dispi-ot'io oxtrnno!

rufs jmii(|Ut' uii rev iiic li-ipula
y iiic (Icscarta ciiojiulo,
yo si'' (lui' parii su niiitla
iiic (luisitTji al^uii vasallo. "

— Lope: /(/ Xind di I'ldUi. 11, xxii.
" I\n(]ri(ft>. CiH'iitamnr iiiii pi'i-rcrciiuics.
Limo. ;,('(uii()l(' pucdfii i'altai',
si ciitra al juffjfo dc casar
con till nnnria dc dohloiics?"

— Lopi': Sdiitiin/o (J \'( r<h . 11, i.
Ill Juaii Hidalgo's Vocabulario de Germanin "niiiiHa"
is given tlio moaning of " miu'hodumbre. "
»/ dahlc piqui : "Dar picpic: En el jncgo de los Cientos es
contar seseiita en Ingar de trciiita: (pie siieede (piando
el contrario no ha eontado nada." — Die. de aid., under
dar. Cf. also pique, f. 281, col. 2. A term from the
game of picjiiet, and applied here means: "play the
winning cards, beat her at the game."

1619. que no hara mucho en que de vos sc pique: "picarse, "
another card term. "Encenderse, resentirse y perder
la paciencia el (pie jnerde a algun juego." — Die. de Aut.
Compare :

"El que versos qiiiere haeer,
y buena dicha en ganar,
no piense que ha de poder,
])or piearse y porfiar,
ni ganar ni eomponer. "
— Lope: las Flores de Don Juan. II, vi.
"No me afrentan tus razones,
pues has perdido en el juego;
que siempre un pieado tiene
licencia para hacer fieros. "

— Cervantes: la Guarda cuidadosa.

LA BAM A BOB A 303

"^A solas estas hablando?
Mai te ha tratado Leoiior,
porque el picado, senor
siempre queda barajaiulo. "

— Alarcon : Mudarse por mejorarse, I, v.

"Estaba jugando el cocinero y en acabando el dinero,
como quedo picadu, i)idi61e prestado a Zabala, el relo-
jero, veinte reales, y respondiole que no los tenia" —
Gaspar Lucas Hidalgo: Dialogos, op. cit., II, i. Com-
pare also the terms picon, and despicarse de:
'^Carlos. i Que lindo picuii le he dado!

Que piensa que estoy ausente.
Elisa. Este piensa llanamente

que su ausencia me ha picado,

y veole desde aqui.

— Lope: el Ausente en el lugar, III, iv.

"... Querria saber, — ^ \

para cierto pensamiento,

si iguala el entendimiento

al exterior parecer ;

que si me ha de despicar \

de don Juan alfruna cosa,

Costanza, estoy sospeehosa,
que ha do ser oirle hablar. "
— -Lope: las Flares de Do)i Juan. ITT, i.

1620. cartas tripuJadas: are "cai'tas. o uaipcs deseehados;" ac-
cording to the quotation in the note on rum/la, verse
1618. tripidar is the same as descartar. The terra is not
uncommon in the dramatists. "El novio que tripule"
Lope writes in las Flares de Dan Juan, III, xix. My
colleague Dr. Morley has told me of two scenes in Tirso
in which tripular is used: Quien calla, otorga, I, vii ;
la Celasa de si misma, II, ii. Here the meaning is evi-
dently the same, that is, desechar, descartar.

:;o4 .\<n'i:s

l(i}.'i. (irtcid. <iil(iii(l( tiiiifo (I tinilst<i<l si ftnc'ut: V v\v\u\s\\\\)^
ai"i' fjiinoiis ill (Jri'fk lf>;»'iul ; we :ii'(m1 only iiiciition
(>i-t'slt's iiiiil I'yliiilt's (verse 1(547), Damon ami r\tliias
( Pliilitias), Achilles ainl Palroeliis, imilaled l»y \'ii'^Ml
in Aeneas ami Aeliates. And tiiei-e are many i'riend-
sliips in medieval literal ui'e copied after classic models.
■■ Va\ (li-eeia. en a(|nella edad,
teniase la amistad
por exeeleiite l)lasoil ;
pero en la nnestra lo son
la iiientira >' i'alsedail."
— Loj)!': Ids Fl(ir( s (h f)())i Jikdi, JJJ, x\i.

lf!60. V(nn(is \<i] nconpariaros y scniiros: on the mechanical
omission of a, cf. verso 259.

inns. "With this scene we return to a I'ooin in Octavio's house.

U)77. la (inacanh'tKi : "La confeccion que se liace de el Anacardo
para facilitar y habilitar la memoria." — Die. dc ant.

180!). Pncs fHO lo res que son sus hijos? Compare:
"Belarda. jSon hijos de amor los eelos?
Jaeinio. Sus hijos dicen que son."

— Lope : cl verdadcro Amante, I.
Cf. also la Corona merecida, TT, vi.

1813. tinicndo: a popular form; cf. Tinioueda : el Buen Aviso
y Portacuentos, ''Revue Hispanique" (Schevill edi-
tion), XXIV, cuento Iviii, p. 42 and euento Ixii, 45.
Verse 1818 has twelve syllables; it may be corrected by
writing : que bien se.

1815. celosia: for celos, not in the dictionaries, and presumably
intended as a hohada of Finea. For a pun on the word,
cf . Lope :

"Lisena. (ap.) j Ay derail
Beltran. (ap.) Lisena es;

delante ponerme quiero.

LA DAM A BOB A 305

Ponese Bcltraii dclantc, fui(ji( mlo (iu( no hi conocc.

Ines, /, (lue en fin soy barbero?

I Que en fin soy barbero, Ines ?
Lisena. Dejame pasar, desvia.

Belt ran. Un abrazo me has cle clar.

Lisena. Dejarae, Beltran, inirar

celos por tu eelosia.

Dejame, piies me eonoces.
Beltran. ^Celosiayo? ^Yqiietal?

De ebano cle Portugal.

— la Noche toledana, II, vi.

1816. descnamorarsc: the manuscript has desanamorarsc.

1870. segun por los ayrcs andas: "Ir por los ayres, es andar
levantado de pensamiento, o liazer diligencia para
alguna cosa con gran presteza, como los que por arte de
nigromancia, dizen ir de vn lugar a otro en poeo espaeio
de tiempo. " — Covarrubias, under ay re.
"Ortuno. . . . si se descuida,

entraras como primero.
Comendador. ; Bueno, a fe de caballero!

Pero ^el villanejo euida?
Ortuno. Cuida, y anda par los aires."

— Lope : Fuente Ovejuna, II, v.
"Yo no soy bruxo para gustar de andar por los ayres"
says Sancho Panza — Don Quixote, II, cap. 41, f. 153r.
Cf. also the note in Persilcs y Sigismnnda,' op. cit., I,
p. 331.

1917. Juan Latino: Practically all that tradition handed down
about this illustrious negro was gathered in the ex-
tremely interesting play Juan Latino, by Diego Ximenez
de Enciso, and printed in the Segunda parte de comedias
cscogidas de las mejores de Espana (Madrid, 1652), a
'volume I have before me. In the opening scene Dr.
Carlobal, a clergyman, chides his sister doiia Ana for

30t> .\<>Ti:s

lit-r iiDiiiy tlirtat ions, for tin' lihri-ty with whicli she
treats luT luiiiit'i'oiis suitors. She i('|tlics in a spirited
way that the doctor has I'or^'otleii that he is her Itrother.
not her hiisliaiid, and that on St. John's Kve she pi'o-
poscs to enjoy the masks and <j:aieties. Her l)i'othef
thivntens to niafi-y her olV iiiiniediately, whei-ciipoii slie
says :

■■,•^'o easai'MK^ con hoiiihf(> (pie no sea
du<pie, niai"(pies o eonch' ? ; ^'o easada ?
.'Dofia Ana ('arh)hal. a (pii'ii desea
sei'uii' el iimiido. y I'estejar ( Jrana(hi ?"

While dona Ana is discussing? her suitors with lier serv-
ant, shouts are heard, with mingled music and song, and
a crowd of revellers passes the house. They arc chiefly
students, and among them is young Juan (Latino) at-
tached as slave to the person of the youthful D. Gonzalo,
son of the duque de Sesa. In the confusion Juan picks
up Ana's ribbon which had fallen from the window, the
indication being, according to certain superstitions con-
nected with St. John's Eve, that Ana will marry the
negro lad, Juan.

In the next scene we deal witli tlie uninteresting
subplot, the discontent of the Moriscos and their reform,
all of which however, permits the introduction later of
D. Juan de Austria.

"We then have a typical students' scene in wliich
Juan goes through the usual torments of these episodes
(gargajeanle todos) and excites particular envy be-
cause he wears doiia Ana's ribbon.

Then follows the session of an Academy at the
Duke's house, in which Juan wins the applause of all
by a very learned disquisition on the invention of print-
ing, and the origin of writing. Juan is thereafter en-
trusted to Dr. Carlobal, that his education may be per-
fected, and his promise fulfilled.

LA DAM A BOB A 307

In the second act, Juan aspires to a pi-ofcssorsliip
at the nnivet'sity, and dcsiivs to compete for it witli a
certain Vilhuuieva, already maestro and catcdralico.
He pleads eloquently with his master tiie Duke for his
freedom, in order that his oposicion may be taken
seriously, but the Duke puts him off with vague
promises. In the meantime dofia Ana, always eager to
learn, denumds a teacher of hci- l)rotli('r who selects
Juan Latino. In this way Juan sees a great deal of
her, teaching her not only granidtica as Lope puts it,
but amo, amas. He also recites verse to her which is
rather free from the usual cidtcranismo, and sings to
the "biguela."

We now have the interesting scene of the oposicion
in which Villanueva attempts to defend his professor-
ship, but in vain, as Juan's dignity, self-possession and
learning carry the day.

In the third act, Juan luis made great strides in his
suit for doiia Ana's hand, but to the displeasure of
Dr. Carlobal who did not engage him "to make love
to his sister." D. Juan de Austria now appears on the
scene, honors Juan Latino in various ways and promises
to intercede for him with tlie Duke, so that Juan may
become a freedman. D. Juan de Austria eulogizes him
in the following sonnet :

' ' Hijo de esclauo soy ; naci en Baena,
donde las letras aprendi primero ;
creci siguiendo el centro verdadero,
premio que a la virtud el ciclo ordena.
No me ha estoruado mi amorosa pena
que sea de Granada Racionero,
Orfeo, Marte, Ciceron, Homero,
en voz, en armas, en Latin, en vena.
Catredatico fui, Griego excelente,

y, en fin, varon insigne, pues que llego
a ser deste lugar Colector digno.

303 NOTES

\ (-(tmo It' llaiiiit |)()r cmiiiriilc

In iiiiti^iia Honi.i a su Adiiaiio. r\ (iricjijo,
la iioMc FiSpafia iiir llami'i d Latino."
It" tlit'sc details art' tnif, tlu'v ^dvf us in-w facts in
.Iiian's can'*'!'. Wf also liani that tlofia Ana had a
hrotlit'i" wilt) was li(( nciadti ami ahdhh ot" (iraiiada,
wliilc |)i-. ('arlol)al. tin- clt'rjrvnian, is calli'tl "t'undador
dt' la cflt'hrada X'nivci'sitlad dc Osuna." Wht'tiifr 1).
Juan Ti'licz ({iron, foui-tli Count of rrcna, and fouudci*
of tilt" rniviTsity of Osuna (1548), calKl Cai-lohal to
somi' important position I aui unablo to ascertain.

In the midst of gjreat i)omp and ceremony Jnan is
linally inadf Doctor, tiie last act devotinp: considerable
space to the usual vijiinnn. The latter is pronounced
by the chief wit of the play, Castillo, who relates various
anecdotes concerning Juan, characterizing him as fol-
lows :

"... un dia naturaleza

tnuo ciertas eombidadas,

Diosas de acpiellos contornos,

que de camino passauan.

Era Saba do, y, miiy triste

de no poder regalarlas,

se puso a hazer vn meniido,

y aun dizen que era de baea.

Tomo vna larga moreilla

la naturaleza sabia,

y comeneo a echar en ella

letras, lengiias, esciencias varias,

nominatiuos, genindios,

en fin, toda la gramatica,

la teologia, y las artes;

pero echo piraienta harta ;

que al cozer esta moreilla,

salio como vna gualdrapa.

Minerua. diosa de guerra,

LA DAM A BOB A 309

viciido (juc t'S rev (Ic l;is annas

el claro Duqiie de Sesa,

embiosela a sii casa,

(loiule ha los anos que veis /

que esta al humero colgada,

sin que la de libertad ;

que aun ay morcillas eselauas.

Verdad es que el sefior Duque,

sabiendo de Juan las graeias,

le dio estudio, ((ue fue liazer

de vn cueruo vna aguila braua."
Juan Latino, now maestro, catcdratico, doctor, and
liherto, attains his final and chief honor in the hand of
doiia Ana.

These statements do not agree v.'ith most of those
made by Bermudez de Pedraza in his Antigiledad y
excelencias de Granada, and quoted by Clemencin (edi-
tion of Don Quixote, note 10 to preliminary verse). In
fact no two writers agree on the details of Juan Latino's
life, which seem to have been handed down chiefly by
word of mouth. One of the most interesting facts in
the life of Juan Latino, and one which relates him more
intimately to Lope, is the connection between their re-
spective patrons. D. Gonzalo Fernandez de Cordoba,
third duke of Sessa, and grandson of el Gran Capitan
was the owner of the negro scholar ; Avhile D. Luis
Fernandez de Cordoba Cardona y Aragon, sixth duke
of Sessa, grandson of doiia Beatriz de Cordoba y Figue-
roa, nieta del Gran Capitan, was Lope's patron and
intimate friend.

I cannot disentangle the confusion which seems to
exist regarding dona Ana's brother and father, although
the assertion of Pedraza, that the latter was licenciado, y
Gohernador del estado del duque de Sesa lends some au-
thority to Lope's statement that he was a veinticuatro.
Enciso, we saw, gives dona Ana two brotliers, one of

;uo .V fry AN

uliom is IJi( IK idiln Mini alrdhli. rdlici r, in liis edition
of Dnti Qui.nili. .M;iiii-i<l. 17S7, p. 1^:5:5. stnt.'s liri.'lly thai
.111 ill! L.'il ino ilifd ill ( i ran. id a in I .')7:{. w iiilc 'ricknor and
otlici's «;iiardt'dly say "alter 1")7;{." Nicholas Antonio
may l)t' ri's|)oiisil)l(' for this uiiccitainty. lie says:
dat'ct in Saiictac Aiiiiac itarofciaii (■cclcsia ( iraiialfiisi,
iiti fi'ft prac sc lapitlis tiliiliis, (piciii ipse in ca iirhc
a^'ciis cxt'ripsit : Del Maestro duaii jjatiiio, Catedralico
de Cii'aiiada. y dona Ana de Carleval sii nnij^er y here-
deros. MMLXXIII : (followed hy six hexameter verses),
('f. also (iallardo's I'Jiisdi/o <h inid liihliolad (spdnola,
111, no. 2()'J7 : and Hodrifxne/ Marin: fyuis Bdrahoiia (h
Sofo (Mailrid. llt();>), p. ;{.'>. and an article in d Jm-
jxircidl ( de .Matlridi, l!)lt), Novemher lIMli, which adds
jiractically nothinuto ])i'evi()ns infoi'mat ion. Line 1!)27:
a! for el ?

1II77. <iiti(ns (Idiii vn filo en mi: Comi)are the phrases: "no
dejaran los Zoilos, los Cinicos, los Aretinos y los Bernias
de darsc un filo en su vituperio, sin guardar respeto a
nadie.'' — Cervantes: Novelas, dcdicatoria ; and "gente
de la hampa, y de mi talle y niarea, con (^uien pudiera
darme tres o cuatro filos cnando (pusiei-a." — Guzmdu
dc Alfarache, 2a parte, libro 2°, cap 2.

Act III : Tlie scene remains the same.

2036. [amor] o accidente, o eleccimi: cf. below, verse 2177, where
the same idea fits better into the month of a culta like
Nise than a regenerate hoha like Fiiu^a. Both words
are withont the nsnal cedilla in the manuscript. In
connection with this whole speech, cf. above, on the
influence of Ovid's ars amatoria. In its last analysis,
what Finea says is a fusion of Ovid and Leon Hebreo,
conceived in moderate culfo style.

2090. catrcdatico: cf. verse 1083.

2099. Duavdo: as elsewhere, 3 syllables.

L.l D.1^f,l BOB A 3U

2107. endiosada: "endiosarse, vale entonarsc, crguirse y eiiso-
berbecerse. " — Die. de auf.

"jOh secretaria cruel
tie la ninfa melindrosa,
la (|ne se aleorza y endiosa,
la que viendo en un papel
un San Jorge dibujado,
de la sierpe se espanto ! ' '
— Lope: los Mdindrrs dr Bclmi, IT, xxii.

2110. Pcfmrca: (1804-1374) Nise could have ivad Petrarch in

Spanish. I have in nund two editions: Triumphos:
Traslacion de los seis triunfos de Francisco Petrarca d<
toscano en castellano, hecha por Antonio de Ohregon
(Sevilla, 1526), in folio, goth. ; Sonetos y canciones del
poeta Francisco Petrarca que traduzia Henrique Garces,
de lengua thoscana en castellana (Madrid, 1591).
Garcilaso: Garcilasso de la Vega (1503-1536), one of the
greatest of Spanish lyric poets. Cf. Fitzmaurice-Kelly,
Historia de la Literatura castellana (ed. 2, Madrid,
1916), p. 137 and 404; Cejador: Historia de la Lengua
y Literatura castellana, II, p. 70ff.

2111. Virgilio: On Virgil, and the influence of N'irgil's Acneid

in Spanish literature of the Renascence, cf. Schevill :
Studies in Cervantes, III, in Transactions of the Con-
necticut Academy of Arts and Sciences, vol. XTTI, p.
475t¥.
Taso: There are two Italian poets of this name: Bernardo
Tasso (1493-3 569) and his more famous son Torquato
Tasso (1544-1595). The former's epic poem Amadigi
may interest readers of Amadis de Gaula; the latter "s
master piece, Gerusalemme Uherata. was imitated l)y
Lope in his Jerusalem conquistada, and the Aminta was
translated into Spanish by Jauregui (1607).

2117. On Heliodorus cf. verse 279.

:W2 \(>Ti:s

L'll!'. ii'niKis (/« /,('/)( (/( V<<f(i: <M' Lopt's h'iiiuis printed before
1(j1I{. Nise eoiild liave possessed: /(/ H(niinsi(r(i dc
An<i(lirti, con nlitis (lln rsds rlnias ( .Miiihid. KiO'Jt ; llie
same Noliinie contains a<u/i(ii(1(1 I'arh ih hts h'iiiKis. t'.
24l\ and Tinira l'<trt( <!< las h'lnuis, f. '.\\'2. This
volume was several linns i-cprinted between KiOi? and
H!l:{. rW also Calhii-do: EusaiiiK \\\ nos. 4214, 4'Jir);
Lope's h'iinas Sacnts were not printed until l(il4, and
bis liitnas htonanas if dirinas not until ]it'.\\. On Lope
(le \'e,i,'a, el". Fitzinauriee-Kellv, op. cil.. p. 4iUJ.

*jrJO. daUitm (l( Ci rnnih s: Cf. tbe edition Sebevill-Lonilla, op.
elf. In 1 1 rr< )iiio (hi hi( » hahlar, T, x. Lope mentions
Cervantes, and a^ain in hi Vntthi rah iicia lui. I. .rr, to-
gether with the (iahitia; in the tirst ease especially, for
the sake of the rime. Cf. also Fitzmauriee-Kelly, op. cit.,
p. 383.

2121. '/ ('(inio(.'i d( Lisboa: Luiz de Cauioes (1524?-1580)

famous Portuguese poet, whose great epic Os Luaiadas
was fiist printed in Lisbon, 1572. Cf. Theoi)hilo Braga:
Catto'iis. ( poca ( vida (0|)orto, 11)07).

2122. Los Pastores de Belen: Pastores de Belen, Prosas y versos

divinos de Lope de Vega Carpio (Madrid, 1612). On
this book cf. Renert, Life of Lope de Vega, p. 200.^.

2123. Conifdias de don Guillen de Castro: (1569-1631) ; no

volume of Castro's plays in print as early as 1613 (the
date of la Damn hoha) is known as far as I can ascer-
tain, the first editions of his plays being Primera parte
(Valencia, 1621), Segunda parta (Valencia, 1625). But
this passage of Lope must not be taken seriously, as
does, for example, the editor of Las Mocedades del Cid
in Cldsicos castellanos (Madrid, 1913), p. 22, note. In
the first place the word Guillen was convenient as a rime
word ; in the second place it is not unlikely that Lope

LA DAM A BOB A 313

(i.(\, Nise) possessed some inamisc'i-i[)t copies of Castro's
plays, which would amply explain his statement. On
Castro, cf . Fitzmaurice-Kelly, o}). cit., pp. 253 and '.iS'.i ;
Cejador, op. cit., IV, p. 184ff.

2124. Liras do Ochoa: no livcus by any Ochoa are known to me,

and it is futile to theorize as to his identity. La Barrera
has a note on one Ochoa praised l)y Cervantes in liis
Viaje del Parnaso, cap. 2, vs. 8ff., where he is called '"el
Lieenciado Juan de Ochoa" (cf. Ohras complctas de
Cervantes (Madrid, Rivadeneyra, 1864), XII, p. 363.
La Barrera inclines to the belief that the poet men-
tioned by Cervantes is the playwright Juan de Ochoa,
of whom the Biblioteca Nacional possesses a comedia: el
Vencedor vencido; cf. his Catdlogo del tcatro antiguo
espaSiol, p. 285; the play is no. 3428 in Paz y Melia's
Catalogue.

2125. Luis Vclcz: Luis Yelez de Guevara (1578-1644) a famous

dramatic poet and friend of Lope de Vega. (Cf. the
the admirable introduction prefixed by Professor Bonilla
to his critical edition of el Diahlo Cojuelo, op. cit.).
Professor and Seiiora de Menendez Pidal have printed
an edition of Velez de Guevara's play la Serrana de la
Vera (Madrid, 1916). Both Lope and Cervantes speak
of him with high praise. Cf. La Barrera 's Catdlogo.
p. 463, and his note, XII, p. 389, in the already men-
tioned Ohras completas of Cervantes; Fitzmaurice-
Kelly, op. cit., p. 438 ; Cejador, op. cit., p. 215if .

2126. (';( la Academia del duque de Pastrana:

1. This duque de Pastrana (the third of the title)
is don Ruy Gomez de Silva y Mendoza (1585-1626).
Of his personal appearance Espinel says {Marcos de
Ohregon, parte II, descanso xi) : "Acuerdome de ver
salir a un Duque de Pastrana una manana como esta,
a caballo, con un semblante mas de angel que de hombre,

314 .\(rri:s

(•l('va<l() ni lii silla. (|ii(' itjiifcia ('ciitaiii'fv liaciciulo mil
•rallai'tlias. y tiiaiiKH'aiKlo a ciiaiitas pcrsoiias Ic iiiira-
Itaii." Ill' is inaiscd liy ( 'crNaiitcs in liis ]'i(ij, (1,1
I'linuiso. <'a|i. viii, near llif tiid. hut tiir Iriluitc is of
that |H'rt'uiicloi-\' kind paid to a .Maci-ciias hy a poor
|»0('t :

■■y (|in' hi I'aiiia. ni h-i vi'i'dad iil'aiia.
coiitaha <iUt' a^i'ath'i con su piTscnt-ia
y COM su coflcsia sohi-c huniaiia ;
(|uc fuc nucvo Alc.jaiidfo en hi cxcilcncia
(h'l dai": (|Uc satisfi/o a toih) cuanto
pufdc luostrar fcal niafifnifieencia."

r>ut this tells us nothing of the Duke as a literary light,
although we arc led to believe by the mere fact that
Cervantes ]>raises him, that he could appreciate the
gifts and writings of others. He was Ambassador in
Paris and Rome nnder Philip III, and Philip IV; his
contemporaries also state that he was especially fond
of the sports, and excited admiration as a torrro.

2. The academy mentioned by Lope was dou])tless
the Academia Selvage, first called El Parxaso, opened
in Febrnary, 1612, in the honse of D. Francisco de Silva,
a brother of the Duke of Pastrana, the latter being
presumably its most illustrious patron. According to the
Licenciat(' Pedro Soto de Rojas {Bcscngai'io dr Amor,
^ladrid, 1623, f. 181) : "assistieron en esta academia los
mayores ingenios de Espaiia, que al iiresente estaban en
^ladrid." We may assume that among them were Lope.
Velez de Guevara, and perhaps Espiuel and Cervantes.
Cf. La Barrera : Niieva hiografia de Lope de Vega,
pp. 183 and 571.

3. On these academies, which were patterned after
Italian prototypes (on which see Sandys, A History of
Classical Scholarship, II, p. 81) Suarez Figueroa says
in his Plaza universal (Madrid, 1615), f. 63: "En

L.i DA MA no HA 315

esta eonforiiii(l;i(l (Icscubi'ieroii los anos pasados algunos
ingenios de Madrid scuiejaiitcs impidsos, juiitandose
con este intento t'li algunas casas de Senoi'es, mas no
consiguieron el fin. Fne la causa quiza por(|ue, oluida-
dos de lo principal, fi'ecuentaban solaiiK'ntc los versos
aplicados a diferentes asuntos. Naeiei'on de las censuras,
fiscalias y emulaciones no pocas voces y diferencias, pa-
sando tan adelante las presunciones, arrogancias y arro-
jamientos, que por instantes no solo oeasioiiaron nienos-
precios y deniasias. sino tainl)ien ])eligi'osos eiiojos y pen-
dencias, siendo causa de (|ue eesasen tales juntas eon toda
breuedad." (Discurso XIV, de los Acaderaicos). Lope
himself presented his Arte Nuevo de hacer Comedias
to one of these numerous academies, and mentions an
"Academia de Madrid" in his dedication of the Laurel
de Apolo. Cf. also La Barrera : Nueva hiografia, op.
cit., pp. 151, 176; Luis Fernandez-Guerra y Orbe: D.
Juan Ruiz de Alarcon y Mendoza (Madrid, 1871), p.
529 (a list of academies) ; Navarrete, Vida de Cervantes,
pp. 123 and 482ff. ; Sehack, Geschichte der dramatischen
Literatur und Kunst in Spamen (Frankfurt, 1854), II,
p. 39ff. ; a note on D. Juan de Silva, in II, p. 301 of the
Galatea, op. cit.

2127. Ohras de Luque: Judging fi-om Nise's literary taste, espe-
cially her fondness for the poetry of the conceptistas,
it is possible that this Luque mentioned by her father
is Juan de Luque, "natural y abogado de la ciudad de
Jaen," whose Divina Poesia y varios conceptos a las
fiestas principalcs del ano, que se poncn por sii calcn-
dario con los Santos nucuos y todo gcnero de poesias,
was printed at Lisbon in 1608. He says in his prologue :
'^uso de toda suerte de poesias de las que hoy eorren en
nuestra Espana, y aun algunas que no las he visto en
ningun autor, como son un soneto en laberinto, en euyas
primeras, medias y ultimas letras hay sentencias leyen-

31G NOTES

(iolas liacia luijo, y rt'doiidilliis dupliciulns ; (|iu' nic lia
paiTcido coiiipostura iniiy acomodada ])ara coiiccplos
dr lai'i^a disposicion : y nil soiido cii sictc l('ii<:;iias,
(pif 110 me c'osto poco tral)a.io." And again: "Ansi
tpit' podra scrvir csta obra dc Arte Voctica, ])U('s el cpio
(piisicrr liaoor sonoto oon rcinato tcrciado, (>ii n'|)iiicioii,
o ih' ot ra siKM'tr (\y' las (jiic sc pi'at'l icaii ; o caiicion, o
ot ro (*ual<pii(M' giMici-o dc pocsia. a(|iii la liallara, hiis-
t-andola \wv la labia."

AnotluM' LiKpit' is (ioii/.alo (idiiiiz ^W liii(|iif, whose
al)sui"d i'liyiiu'(l tall' of clnxalfy Lihro prnm ro (h Ins
faniosos IkcIkjs (hi priiicipf Cilidoit dc Iberia (Aleala,
ir)8;n, may also have appealed to the taste of a romantic
girl like Nise. ('f. note, TI, p. 335 of La Galatea, op. cit.
IjOjh' had to use the name for the sake of the rime, hence
the uneei'tain identity.

2128. cartas de d<ni Juan de Arguijo: (1564?-1623) ; among

the poetic forms used by Arguijo are epistolas which
may be the cartas to which Lope refers. Cf . Fitzmaurice-
Kelly, op. cit., p. 374, and Cejador, op. cit., p. 141flP.

2129. cicn sonetcjs dc Limn: Pedro de Lilian de Riaza (d. 1607).

Cf. la Gedatea, op. cit., II, p. 319 ; Cejador, op. cit., Ill,
p. 136ff. In as much as Octavio tells us that Nise's
library contained "librillos, papeles y escntos varies,"
we may infer that such poetry as had not been printed
at the date of our play, 1613, was possessed by her
(or Lope) in manuscript. This was a very common
state of affairs at this time, when many works were
known only through manuscript copies. We have no
reason for doubting that Lope possessed many of them
in his library. This would apply to Ochoa, Luis Velez,
Arguijo, Linan and possibly Castro, of the above men-
tioned list.

LA DAM A BOB A ?,]7

2130. II ore ra el diuino: ( 15:34?-! 597 ) ; cf. Adcilplic Cost-r:

Fernando ele Herrera (el Divino), (Paris, 1908) ; and,
ibid., Algunas obras de Fernando dc Ilerrerei (Paris.
1908); Let GcUatea, op. cit., II, p. 327; Fitzmaurice'-
Kelly, op. cit.. pp. 175 and 400; Cejador, op. cit.. Ill,
p. 89ff.

2131. el libro del Peregrino: Lope's el Peregrino en su Patria,

first printed at Sevilla, 1604 (of. Gallardo, TV, no.
4212). It is an artificial story of adventure, pedantic,
and marred by digressions and bad taste. Moreover,
Lope's prose style is inclined to be mediocre, dull and
culto.

2132. el Picaro de Aleman: The well kno^^n rogue story by
. Mateo Aleman (1547-?), Guzman de Alfarachc, was

printed iu two parts, the first at IMadi-id, 1599, the
second at Lisbon, 1604. Cf. Fitzmaurice-Kelly, op. cit.,
pp. 230 and 370; Cejador, op. cit., IV, p. 130ff.

2167. sedu: "salas se llaman vnas piecas grandes de Palacio, en
lo baxo del, doiide se juntan los Consejeros de su Mages-
tad a despachar los negocios de justicia y gobierno. " —
Covarrubias.

2177-8. Cf. the beginning of act III ; eleccion and accidente are
without the usual cedilla.

2182. cstrellas que conciertan las voluntades: According to culto
poetry love is considered a disease, and the influence of
the stars brings on ' ' el accidente de una enf ermedad ' ' ;
as such, "accidente" is frequently found in contrast
with "eleccion, o albedrio."

' ' No digo yo que f uerzan las estrellas ;
que inclinan digo ; pero tu no quieres
por tu eleccion ni por que inclinan ellas.
Amor I que se ha de hacer de las mujeres,

318 .\(rri:s

(|Ur iii vi\ ir com clhis iii sin clhis
j»u»'»lfM niit'sti'os pcsiii't's y pliicci'cs ?"

— L()|><': Soiiiit't 'J7S ((H)r<is iiti (Irdim'il icds
in liihiidh (■<! di (iiilans < sptuKih s) .
"I'tTo si las cslrt'llas (iafio iiiHiiyi'ii,
y coil las (Ic liis ojos naci y iiuicro,
^ci'iiuo las \ riici'i'c sill all)c(lri()?''

— Lo|)c : Sonnet ^C)f^.

'*. . . En lanlo (inc cslc apliipu'
rcmcdios a sn anioi- o a sn accidciitc,
Don Ai'ias, y su vida ])i'onosti(iue,
por otra ))artc (|uicro yo epic intente
d iuteres ciirar a esta senoni
do la dureza quo on ol pecho siente."

— Lope: La Niila de Plata, IT. viii.
"El amor (pic Ic lie eol)rado en (^ste i^oeo dc tieiiipo (pie
le he visto es de suerte, que me fuerza a que atropclle
eon todo, y habiendo de ser yo la rogada, venga a
rogarle : fuerzas son de estrellas y oeulta inelinaeion ;
(pic no se pnede alcanzar la causa de adonde precede
tan gran nuidanza como la que vengo a ver. "' - — d Do-
nado hahlador, op. cit., I, cap. 5, near the end. Cf.
also Lope: Al Pasar del arroyo, I, ii ; Quien ama no
haga ficros, I, vii ; la Noche dc San Juan, II, f. 77v;
ri Cahallcro de Ohnedo, I, iii.

221. "3. pcnsamicntos: cf. above, verse 635.

2220. Todo es mudanzas amor: In as nmeh as Octavio says
"vaya el baile del otro dia," Liseo's phrase contains a
pun on the step of a dance. The chief interest in this
dance for us, lies in its pronounced popular character.
We may recall that in Don Quixoie, II, xx, Cupido
[amor] dances a mudanza, on which occasion, however,
it is a formal dance, as is also the case in Moreto's el
Desden con el desdcn, II. The double meaning of

LA DAM A BOB A 319

niiidanzas dc amor and )in((hinza, tlic step of a datu'c, is
not unconiinon in tlu' roHidiiccs. Sec, in ilir hallad l)i'-
ginning :

"En el tiempo que Celinda — ccrro airada la vcntana etc."
the verses :

"Que en el villano de Amor — es niuy cierta esta nuidanza,
y la danzan nuiehas veees — los (pie de veras se aiiian."
And in the ballad beginning:

Abindarraez y Muza — y el Rey Chieo de Gi'anachi etc."
the verses :

"Entre tanto el rey y Muza — estaban con Zaida y Zara,
cansados de tantas vueltas, — que son de ainor las nuidanzas."
Compare also such stereotyped phrases as, "todo es
enredos amor,"' "todo es enganos (or industrias)
amor. ' '

2238. cadenas y vandas: "era un hombre de hasta cuarenta
aiios, algunas canas, agradable presencia, calvo, de me-
diana estatura, calza de obra, galas al uso, una van da
de oro al cuello de las que se comenzahan a usar en-
tonces." Lilian y Verdugo: Giiia etc.: Novela y escar-
miento segundo. The vanda was an effeminate trait,
and generally worn by lindos; cf. also vs. 2247.

2245. tranzclin en el sombrero: other forms are trcncillo. trcn-
cellin :

"no luiy treneellin de diamantes
que se acabe en otro nombre,
ni tiene la corte un hombre
cuyos coletos y guantes
espiren olor igual."

— Lope: el Ausente en el lugar, I, v.
"La cabeza adornada
de un sombrero, la falda levantada,
de un treneellin ceiiido."

— La Gatomaquia, VII.

320 .V(>7'/-;n

JL'47. ('(/</( iiitd (li oni al < udlo: no vomij; j^.illaiit was satisfiod
to ^o without a cliaiii. and very frtMiuciit ly, if lie could
not an't»rtl oiif of i;oM. lu' woi-c a falsi' one [ih (ihiiiimid) .

\1'2V.K (II Ins hr(i:<)s d <jrl(/iiii sea: "los ^ri^uifscos sc llaiiiai'oii
asi dt' (jrt.r (jr((/is y la lana del ^aiiado, si no cs <\\n-
vinirron dc Grccia; sou liahito dt'scausado. aun(|Uf las
ealzas son nicjoi-cs pai'a las arnias."- — In Doritha, IV,
iii ; C'f. also the next two notrs. 'V\\i' sinj^ulai', as licrc,
is loss coininon than the plural; cf. Los Coiin iidadoiu s
dr Ciinloba. Ill :

— "Para la si'guuda vez
tongo un grigiiesco valon,
quo OS lo bajo do un capon."
also Covarrubias under qahon: "por otro uoin])ro cal-
oou o groguosco"; and Cervantes: cl Gallurdo Espanol.
Schevill-Bonilla ed., I, p. 68, vs. 16.

I assume that in saying that Amor wore the grigui-
esco on his arms, Lope is ridiculing the width and full-
ness of the sleeves which might well have resembled that
garment. In verse 2303 wo are again told tliat Amor
wore la manga anclia (perhaps with the double meaning
that "Love may be unscrupulous"), and el calzon an-
gosto which latter garment was close fitting, while the
grrgiirscos wore loose bi'oeches, extending, when first
introduced, to tho ankle, later from the hip to the middle
of the thigh. The latter style was worn especially by
soldiers, pages, etc., during this very ix'riod, the first
third of the seventeenth century.

Lope's ridicule of wide sleeves recalls a passage in
Quevedo, Visita de los chistcs, where we have an amus-
ing description of the costume of don Diego de Noche
who had found a pair of sleeves big enough to w'ear as
grcgiiescos: "Muy angosto, muy a teja vana, las carnes
de venado, en un cendal, con unas mangas por gre-
giiescos y una esclavina por capa ... so llego a mi

LA ^)A^fA hoi; A :V21

iin rebozado otf." (Ohras, op. cil.. 1. ]i. 345). Cf.
also, Luna: LuzariUo de Tonnes, II, cap. 1: " [los
vestidos] iii tenian prineipio, ni fin : entn* las calzas
y sayo no habia diforoneia ; puso las picrnas en las
mangas, y las calzas j)or ropilla, sin olvidar las incdias
que partcian mangas de escribano. " And Tirso dc
Molina, in his Cigarrales dr Toledo (Victor Said Arniesto
ed., Madrid, 1913, p. 101) has the following passage:
"Causo novedad el trage de los nuevos dogmati^antes,
porque las coronas de la ingrata ninfa no ceiiian sus
sienes como so acostumbrava, sino sus cinturas. Pudo
^er por llainar a los desta facultad, que tan nial sc dan
a entender por palabras, bachilleres de estomago. Y
aunque curiosamente vestidos, havian mudado el uso
hasta en el modo de su adorno, porque traian los
baqueros de tela abotonados por las espaldas, las rosetas
de las ligas les Servian de cuellos y pufios, y los pufios
y cuellos de ligas, las mangas de gregiiescos y los gre-
giiescos de mangas, a imitacion de su poema."

2251. las ligas con rapazejos: "vieron ([ue venia eon vnas medias
de seda encarnada, con ligas de tafetan bianco, y ra-
pacejos de oro y aljofar, los greguescos eran verdes, de
tela de oro." — Don Quixote, II, cap. 49, f. 186v.

2253. capatos al nso nucbo: (capatos in the manuscript)
"Lleuaua la espada sobre el ombro, y en ella puesto vn
bulto, 6 emboltorio, al parecer, de sus vestidos, que al
parecer deuian de ser los caleones o greguescos, y
herreruelo, y alguna camisa, porqut' traia puesta vna
ropilla de terciopelo eon algunas vislumbres de raso, y
la camisa de f uera ; las medias eran de seda, y los ca-
patos quadrados a vso de Corte."— 7)o« Quixote, II,
cap. 24, f. 93r. According to some writers, the origin
of this custom is attributed to the Duke of Lerma, who
suffered much from bunions; cf. also vs. 2301.

:i'2'2 .\()n:s

'J'J."».">. siittiiiilid (I It) iKrijin sfo: ll is (lifliciill to tlfscrihc Spaiiisli
^Mfiiifiits patttTiU'tl at'tiT fdi-i'lj,'!! uiodfls. In tliis paf-
tit'ulai" cast', I ciiii oiil\ iiii'iit ion 'rui'kisli or .Mooi-isli
ap|)an'l uliidi n'si'iiibli'd a sliort cassock. Dicj^jo tic
Ilacilo. in his Topoffnipln'd < Ulshirid (Itmrdl <lr Anjil
( N'alladolid, 1(112) says of the men of Al<;icrs: '"l^il
vcslir (Ic toilos cstos cs pi'inicramciilc vna caniisa y
(;arajriu'llt's ilc licn(;o, y (luaiido iia/c iVio, vii sayo dc
\n\\\o dc color <|uc Ics da por ahaxo dc la rodilla, vomo
soldiid piijin I'ld, a (pic lianiaii (ioiula, o (iolcila, mas en
vcrano no la ti'acn; y en sn Injjar i)oncn nnichos otra
cainisa iV' licn(;o dclijada, lar-ja. y nniy anclia, y niuy
blanca, a (pic cllos llamaii Ailnrra" ( t'ol. S, col. 2).
in clia|)tcr 2() ( Del vestido dc todos los tureos de Argel,
etc.), t". 2{)r., col. 1. he says: "Enciina doste jalaco
traen de ordinario vna i'oi)a (pic Hainan fdfctan, que es
a inancra de sotanu de clerigo, habierta por dclante, y
con botoues en el pecho, la qual de la uiisina nianera
tiene las maugas cortas hasta los codos, y es larga hasta
media pierna, y a vezes mas, o a lo menos passa siempre
dc la rodilla, es tambien de algun color, etc." Again
speaking of women: "0 (lo que muchas vsan) traen
sobre la camisa de tela otra de seda, de cendal o tafe-
tan muy delgado, de algun color, que les llega hasta
los pies; y si haze gran frio traen debaxo vn sayo de
pano, 0 de colchas, como traen los maridos, a que llaman
gonila, y otros gokyla" (fol. 27, col. 2). A garment
worn by the IMoors in Spain, and adopted with slight
modification by the Christians for specific occasions, no-
tably the joust, or "para lucir," was the marlota. It
was a kind of loosely fitting sayo, or man's frock, and
Dozy in his Dictionnaire dctaille dcs noms des vete-
moits chez les Arahes (Amsterdam, 1845), p. 412,
speaks of it at length. In Spanish literature it is fre-
quently mentioned together with the capellar, a short
mantle worn hanging from the shoulders. Cf. Dozy,

LA DA MA no HA 323

vp. cit., p. yno. liotli <;;ii-iii('nt.s \nny he fctiiiid in u

number of romances moriscos-, and wt'i'i' niiu-li woi-n

in Loi)e's time. Tn the hitter's ])oem la Mariana (h

Sail J 11(111 note tile t'ollowiii^- .s1;in/a (-{O) :

'■?Sii [)aclre, invicto de su edad, un dia,
con el vestido arabigo de Espana,
que nos dejo su autigua moiuir(|uia.
marlofa, eapellar, adarga y eana,
el cefiro del alba desafia
en el ,jin<'te (|ue de sangi-e Ijana,
en tal aurora, que por justas leyes
obliga tal manana a tales reyes."

Tliat the marlofa was also a street garment may be seen
from the following passages found in the romances
moriscos:

"Y que en vez de echarte al hombro — la malla y turques alfange,
te eches bordadas marlotas,- — y vayas a ruar calles."

"Sale galan, aunque triste, — para mostrar por sus galas
((ue parte rico y contento, — pues de ello gusta su dama.

Con muehos racimos de oro — una marlota eiicarnada,
aouchillada a reveses, — y en tela verde aforrada, etc."

Lope may have implied that the sotanilla a lo turquesco
was different from the usual soteinilla in that it was
embroidered and colored, finer than the gonela or goleiJa
and i)ossibly moi'e like the marlota. It is all a matter of
unsatisfactory guessing. On Mooi-ish garments see also
the edition of Gines Perez de liita's Guerras civile^ eh
Granada, Primera Parte (Madrid 1913), l)y Paida

324 \()Ti:s

HliiiK-liiird-Dniioup;*'. |>p. 71 IV. .Miiii\- costiinu's of Ilit<
SpMiiisli people ill jjope's diiv were pat teiiieil alter
foreign iiKidels, aiui as eviileiiee of lliis VOf^Ue tile t'ollow-
iii^ passant' may ho I'ited : "Xiiestra Espafia dc cada
dia usa nuevos ti-ajcs. no liastaiido pra^':iiia1 icas y pro-
visiones |iara ri'iiieclinr tan mniieraliles "gustos, sacando
cada iiiu) imeva traza, iiucvo iiiodo de vislir, no mas de
I'omo Ic pas('> ])or la cabeza. imilandole todos coiiio a
verdadero restaurador de las jjfalas, y de mayor curio-
sidad. ya ]»erdida en el inundo. I'sa el italiano, el
t'l-anees. el Hamcnco. el iiifxles, el liirco. el indio, desde
(pu' tuvo principio su nacion, de una misma forma d(>
vestido, sin lialiei- mndado el iino ni el otro el tui'hante,
y solo el ospanol es variable, no liabiendo eamalcon
<pu' asi mnde de eolores como el de trajes y diversas
hechnras." — cl Donado hahlador, op. cit.. II, eai). G.

■J"J»il. Corto cudlo ij puTios largos: a narrow or simple collar
without the usual ruffs {Icchuguillas). The small col-
lar was more characteristic of the beginning of the
reign of Philip II ;. about 1562 the elaborate collars
known as marqucsotas became popular; according to
Rodrigo ^Nlendez de Silva, Catdlogo real grncalugico
dc Espana (Madrid, 1636), this monstrosity was intro-
duced into Spain by an Italian marquis who suffered
from scrofula and concealed his disease by means of the
marquesota. Alarcon tells a similar tale about a young
gallant. La Vcrdad sospechosa, I, iii, an interesting
scene, in which the author makes an amusing plea for
the valonciUa angosta. In 1623 an effort was made to
introduce a valona liana, without ornamentation or
color, but the result was only the introduction of a new
vogue, the golilla.

The piDlos largos were also worn by fops and
dandies. "Todas mis ansias consistian acerca de mi
ornato y atauio : no desflorado el capato, al vso pecho

L.t Ji.iMA IU)I:.\ 32.1

y cabello, grandcs punos, cuollo eon muchos anchos y
aziil, pomposas ligas, medias sin genero de flaqueza." —
d Passagero, Aliuio II, j). 71. In Lope the young
gallants frequently wear punos a lo veneciano: cf.
la Viuda valenciana, I, iv.

2265. guante de anhar adobado: "fue nn gentil honibre, bien
aderezado al uso de ahora, cuello azulado y abierto,
calza entera de obra, sombrero con plunias, espada
dorada, ferreruelo aforrado en felpa, guante de amhar,
y al cuello una vuelta de cadena de oro de moderado
peso." — el Donado hahlador, op. cit., I, cap. 4. Com-
pare also:

"Fenisa. Estos son guantes: bien puedes
tomar estos cuatro pares.

Lucindo. ^Son de ambar?

Fenisa. Si. No repares."

— Lope : el Anzuelo de Fenisa, 1, x.
For an anecdote, turning on guantes muy olorosos, cf.
Timoneda, el Buen Aviso, op. cit., cuento Uv; also the
quotation, verse 2245; Seiior Bonilla's delightful little
volume, De Critica cervantina (Madrid, 1917), p. lOltf.,
tells us of the perfuming of gloves at length.

2267. gran jugador del vocahlo: "jugar del vocablo: usar del
con gracia, en diversos sentidos: que freqiientemente
es decir equivocos." — Die. de aut. For one of these
"puns" cf. Lope:

''Flora. Ana se llama.

Conde. A nadie perdona agora.
Marcelo. Jugo el Conde, mi seiior,

del vocablo. ; Triste caso ! ' '

— Quien ama no haga ficros, I, x.
"Los pobres haeen retablo
de sus duelos y pesar ;
no hay dinero que jugar,
y juegase del vocablo."

— los Comendadores de Cordoba, III.

;{L>r> NOTES

2'21'k ili(ii>ifi>n idsti llitnn: till' iiaiiif »;i\i'n to n S|i;iiii;ii'»l rr-
tuniiii^ ffoiii tilt' liulics. iiinl. ^fiirriilly, in poverty;
till' I'pitlh't was used in Mexico iM-eordiii^ to tlie Pic. (h
nut., and was ('(luivaleiit to our "t,n-eeiilioi'ii." (T.
Lope; (Tristan cliiiU's liis master lor hi'iiii; so easily
tlllped) :

";l^)ue eliapet('tn estas en cstas Indias!"

— (I Aii~i(<l() (}( Fniisd, II. \iii.
Ill the I'dssiH/i n>, op. cil., p. lidS, tlie word lias the
nu-aning of pclon. "a hahl-headed man," presumably
hoeauso cliapcton means one who has been fleeced in
the Indies, ("t". also rl Diahln cojuclo, op. cit., \^. 138,
aii<l /(/ Dtirotid. op. til.. II, iv.

22*J3. ;I)i.r(i Id.s iiiidlanicas, mart)!

— quf I/O mc la.^ vareare — : The same I'efrain may be found
in a anitar in cl Villano en sii Rincon, III, ii. It is
mueh more appropriately used there as the scene takes
l)laee in an olive grove, and the merry-making is com-
bined witli the task of gathering the olives. Moreover,
the refrain manifestly is a part of the romance there
sung, which cannot be said of the cantar in la Dania
hoha. The surmise is justified that having met with
great applause in el Villano en su Rincon (written be-
ween 1604 and 1618, presumably about 1612), the dance
with its refrain was reintroduced in la Dama hoha.

2295. el Amor se ha huelto godo: "para encareeer la presuncion
de algun vano, le preguntamos, si deciende de la casta
de los godos. " — Covarrubias. "Quise hacerme de los
godos, emparentandome con la nobleza de aquella
ciudad." — Guzman de Alfarache, la parte, libro 3°,
cap. 1 ; cf. also, 2a parte, libro 3°, cap. 5; Luna: Laza-
rillo de Tormes, cap. 3; Lope: el Anzuelo de Fenisa, II,
xvii ; "No dira uno: soy virtuoso o soy bueno ; sino:
soy de los godos, o soy de tal o de tal linaje, descen-

LA n.LUA nor;A 327

(licmlo do tal casta o dv tal parciitela." — Toi'(iui'iiia<la :
Colloquios satiricos {tcrccra parte del colloquio do la
h 0 n ra ) .

2299. liga de oro: cf. above, verse 2251 ; on the U<j<i I). Juan
Sempere y Giiarinos, Historia del luxo \j dc las b iji s
suntuarias de Espana (Madrid, 1788), II, p. 56, has an
interesting statement: "Las medias eran de carisea,
estaniena, pano, ligadas con atapiernas, o senogiles, que
per los Italianos digeron ligaganibas, y hoy ligas."

2301. sonhrcro y gapato romo: "si bien ya se usan [sombreros]
altos, ya bajos, ya voleados, ya romos, todos vienen a
tener las alas redondas y sin esquinas." — Fernandez
de Avellaneda: Don Quixote, cap. 25. On the chang-
ing vogue in shoes we find in el Donado hahladejr, II.
cap. 6 : " aun con tener yo mas de cincuenta aiios, poeo
mils o menos, tengo experiencia de la diversidad de
zapatos que se han usado, tan diferentes en su hechura,
porque unos vi redondos, otros puntiagudos, de una
suela, de dos, y de tres, y de cuatro; otros romos, con
orejas y sin ellas, largos de pala y corta ; y si en el
calzado es esto, ^, que sera en lo demas?" Cf. also verse
2253.

2309. niafamoros: "a boaster, blusterer"; one of many similar
compounds: matasicte, — Luna: LazariUo, cap. 1; ma-
tacandiles, ibid., cap. 8; matamoscas (mata-siete-de-un-
trompon) in Biblioteca de las tradiciones populares
espanolas I, p. 121, cited R. Koehler, Kleinere Schriften,
I, p. 564.

2313 and 2315. '' lAmor loco, y amor loco!

jYo por vos, y vos por otro!" These two ver.ses
are sung in Moreto's play, Yo por vos, y vos por otro,
I, iv and v.

32S .\(m-:s

'2'-V2'\. </' pKiirdti (1)11 FiiKii: Lopi' mi'iins Xisc: in llic licat oi'
writiiij; lie occasionally coni'usi's the iiiinics of his diar-
actcrs. Thus, in llic last ad of la yiihi .di I'hild, llic
names of i>oi'ot('a and Tcodora arc cxclianu^cd, wliicli
creates confusion for the I'cadci".

2."}4r). (Jilt tudicd sr ((ISO bicn

(jUKU sc casso par rcngarsc: Compare:

"(|Uf nunca por la vi'n|_ran/a
son buenos los casaniientos. "
— Lope: (^>ii()i ama no luif/a fums. UT, i.

l2:)!>4. Pi((S (kUos: ^iven to Lauiincio in the nianuscri])t.

l!40I>. (niis(ir( in the nunniscript.

11440. Vila nuKjcr corchra

<s fiisson cJc sH marido: a gjood exani})le of concepiismo,
and chai'acteristic of the language of Laurencio. The
reference is both to the Golden Fleece, and to the Order
d(l Tuson; the idea, that a meek woman is an honor and
ornament (like the Order of the Golden Fleece) is com-
mon in Lope's time.

244!). d (strado: cf. verse 907.

'24.")4. no rs sancto como cl silcnzio: reference to the proverb "al
buen eallar llaman sancto o Sancho"; cf. Correas,
VocahuJario. p. 35 for a long article on the saying.

2526. duolo: ducno in the manuscript.

2536. Oliheros: hero of an old romance of chivalry: la Historia
de los nohles caualleros, Oliucros do Castilla y Artus
daUjarhc (Burgos, 1499) ; reprinted In* Professor Boni-
11a in vol. XI of the Nueva Biblioteca de Autores espa-
nohs. Cf. Fitzmaurice-Kelly, op. cit., p. 416.

LA DAM A BOB A 329

2557. que la )iia!jor (liscrezion

es acamodarse al tiempo.

— Eso dixo el mayor sabio: According to the Diccionario
de Autoridadcs, the plirase "acomodarse al tiempo mas
es prudenzia que baxeza" is found in Diego Gracian's
translation of Plutarch's Moralia, and the reference is
presumably to the following volume: Morales de Plu-
iarcho, traduzidos de leiigua Griega en Castellana.
Por el Secrctario Diego Gracian, criado de su Magestad.
Va de luieuo anadida la quarta parte, que nunca ha
sido impressa. Los titulos que en estos Morales se con-
tienen se veran en la plana siguiente. (Real escudo.)
Con Priuilegio. En Salamanca. En Casa de Alexan-
dro de Canoua. Afio MDXXI. I have before me an
edition of 1548 with only three parts, in which I have
not found the passage quoted.

2572. diiena: Finea thinks that Liseo has called lier a duenna.
How unpopular these characters were, how questionable
the reputation which they bore, is made evident by
many writers of Lope's time, especially Quevedo (ef.
la Visita de las Chistes in Ohras, op. cit., I, p. 344) and
Cervantes; (cf. a passage in the latter 's el Celoso
estremefw: "0 dueilas, nacidas y usadas en el mundo
para perdicion de mil recatadas y buenas inten-
ciones . . .").

2575. iQue es alma? The hobos in los Locos de Valencia, III, ii.
carry on the same kind of conversation : —
''Verino. |, Tu sabes lo que es alma ?
Floriano. Se que es alma

acto primero y perfeccion del cuerpo."
Aristotle, through the interpretation of medieval and
Renascence theologians and philosophers, is the source
of these phrases. Cf. Obras de Aristoteles puestas en
lengua castellana por D. Patricio de Azcarate, Psico-

aao \()Ti:s

liitjia I. l ml ad (I (hi Ahiui, Ubni II: TiorUt </(ii(r<il if
(hfinicinii dil AIniii: "La suslniicia cs iiiui i-ciilidad
pcrfiM'tii, una riitrlt'(|uia ; lur<;() v\ alma cs la rii1rli'(niia
tirl cucriM), tal como la acahaiiios di' dclinir." (p. 147).
■'Si sf (|uirri' una (Iclinicinn coniun a tddas las csix-cics
del alma, rs pi'ccisd dccii- (|ur I'l alma cs la cii1clc(|uia
primci'a i\i- un ciiciiio natural oi'iranico." ( |). 14Si. The
Latin i-cndci-s < iitiU quia by act us (tlic dclo prinn ro. or
till' ijobu ruo nt' Loi)(''s jilirastO, the word means "llial
hy wliicli the soul actually is."

■2.')S0. f'Si) (S alma la que cu el peso

I( pintan a San Miguel? Imnioilal spirits idcascd ])y
death were wciirhcd hy St. Michael in a lialancc, and it
is thus that the Ai'changel is frequently depicted in
church paintings. "In those devotional pictures \vhicli
exhibit St. ]Micbael as lord of souls, he is winged and
unarmed, and holds the balance. In each scale sits a
little naked ilgure, representing a human soul : one of
these is usually represented with hands joined as in
tiiankfulness — he is the ieato, the elected ; the other is
in an attitude of horror — he is the rejected, the repro-
bate ; and often, but not necessarily, the idea is eom-
l)leted by the introduction of a demon, who is grasping
at the descending scale, either with his talons, or with
the long two-pronged hook, such as is given to Pluto in
the antique sculpture.

Sometimes St. Michael is thus represented singly ;
sometimes very beautifully in ^ladonna pictures, as in
a picture by Leonardo da Vinci (1498), where St.
]\Iichael, a graceful angelic figure, with light, flowdng
hair, kneels before the Madonna, and presents the
balance to the Infant, who seems to welcome the pious
little soul who sits in the uppermost scale.

I have seen this idea varied. St. IMichael stands
majestic with the balance poised in his hands ; instead

LA DAM.i liOh'A 331

of a luunan figure in citlitT scale, thei'e ;ii'e weights:
on one side is seen a company of five or six little luiked
shivering souls, as if waiting for their doom; on tlie
other several demons, one of whom with his liook is
pulling down the ascending scale." — Sacred and
Legendary Art, by Mrs. Jameson (ed. 3, Boston, 1857?),
I, p. 113. The origin of this conception is found in such
verses of the Bible, as Daniel V, 27: "Thou art
weighed in tlie balances, and art found wanting"; or
in Revelation, VI, 5: "And I beheld, and, lo, a black
horse; and he that sat on him had a i)air of balances
in his hand."

Finea has in mind a painting in the church of San
Miguel, built during the reign of Philip III, and de-
stroyed by fire in 1790. Cf. Mesonero Romanes: el
Antiguo Madrid, op. cif., p. 71flP. Lope apparently
refers to the same painting in las MeJindrcs dr Bclisa,
I,iv:-

"Lisarda. Pues no nos pongan el coche ;
que a San Miguel a pie basta.
Belisa. Y, ^no es nada el de los pies,
junto al peso de las almas?"

2602. a verse of nine syllables.

2603. . . . Soy medrosa

de las almas, porque temo
que de tres que andan pintados

puede ser la del ynfierno: Finea 's silly fears remind one
of the melindres of Belisa, in the play of the same name,
I,iv:

"Tiene [San Jeronimo] a los pies un leon,
que siempre que entro me espanta ;
y una vez, madre, no dudes
que ha de saltarme a la cara."

a;{2 NOTES

Kiiifii rt't't'i's to the pit'toi-i.-il icpicst'iitation of tlic liorc-
jifttT: the soul in riii'julisc (hi (iloriti), llic soul in
I'urtratoi-y [i n pnia) ainl Ilic soul in llcll (hi (hi iii-
furno) .

'J(!()7. /(/ Xocln (Ic h)s (liffuiitos: h'iiicii is iifi'.iid of j;lios1s. Cf.
el Pa(ln> Pcdi-o df Kihailtiu yra, Fh)s Sanctorum (Bar-
celona. ITDO), 111, |). ;{27 : La ( 'oinmenioraoion de los
dit'unlos; 2 i\r novicinhrc ; "liasc dc advei'lir, (|U<'
aun(|Ue cstas ai)ari('iont's di' las Almas del l*iii"ii:atoi'io.
([ue a(|ui liavcnuis refcrido, y olras sciucjanlcs, ])or scr
oscritas do Autoros graues y Santos, se debi'ii tenor per
vordaderas, y (|ue nuestro Seiior qniere en ellas en-
senarnos las lioi'i-iMos ponas (|no las Almas padecen, . . .
dobonios iisar do gran eautola on estas eosas; porqne
nniohas vooes no son vordaderas las aparicionos de las
Almas, siiio do nuostra tiaea eaboza, e ihisiones del De-
nionio, que nos inipiiota y ongana, dandonos a entondcr
(|ue vonios lo ([uo no vomos. '' p. 329.

2613. (Que te dize? On various occasions printed copies of
Lope's plays change this to i,quc. te parece? As in this
l)artieular case ; and again in verse 2868 it is changed
to ^que me dizcs? It is hard to believe that contem-
porary printers did not understand the question, since
it is not uncommon in Lope. Cf. "^que te dice el
casamiento?" — al Pasar del Arroyo, II, xiii. .

2679. y aqui vienc hicn que Pedro

cs tan ruin como su amo: Corroas. Vocahularh), p. 41 1, has:
"Tan bueno es Pedro como su amo, y mejor un ])almo.
(Es variable)."

2704. iTienes cuenta de perdon? "Cuenta de perdon: os una
cuenta a modo de las del Eosario, a quien se dice que el
Papa tiene concedida alguna indulgencia en favor de
las Animas del Purgatorio. " — Die. de aut.

LA D.iM.i no J!. I 333

"En peiia a las once estoy.
Tu euonta el pcrdon iiic aplic|Ut'
para que saiga de pena."

— Lope: Pcrihaiifz y <l ('iimr ndador dc
Ocana, III, xiii.
Finea understands that Nise ''will take her soul out"
of purgatory. Cf. also la Esclava d< su (i(dan, 11. xiii.

2714. ahnario dcho d( s(r: an unexpected nun fVom the hoha
Finea.

2768. si OS faltan telas y rasos: "you may give your sonnets (as
presents), if you have no fine cloth and satin." That
these were included amongst the gifts of a lover can
be seen from Peribdnez y el Comendador dc Ocana.
1, XV:

"Si serviera una dama, hubiera dado
parte a mi secretario o mayordomo,
o a algunos gentilhond)r('s de mi casa.
Estos hicieran joyas, y l)uscaran
cadenas de diamantes, brincos, perlas,
telas, rasos, damascos, tereiopelos,
y otras eosas extranas y exquisitas."

2771. Este [i.e. Gareilaso] venden par dos rcales,
y tiene fantos soneios
eUgantes y discretos,

que vos no los harcys talcs: In his novcla. Las Fortunas
de Diana (printed in 1626). Lope wrote: "Pero a ^^
ni ^, que va ni le viene en que hablen como quisieren
de Gareilaso! Assi dezia vna canzion que cantauan vn
dia los musicos de vn seiior grande :

Las obras de Boscan y Gareilaso

se venden por dos reales,

y no las hareys tales,

aunque os precieys de aquello del Parnaso. "

334 .\()TI-:s

Thoro is no reason to iloubt that Iln' poet wliosc vci'so
the iiuisicians san«!: was Lope liimsclf, and that lie luul
rccallt'd an idea already expressed elsew liei-e.

282."). tnidjiilr: aceoi'din^ to -luan llidal^nis V mitlmldriit dc
<n niKiiiid. means to eat {comrr). See Quinoncs (]*}
lienavente. in liis Lna can (/in ii)ip<:(') Tow/is Ft du'dhIcz
t n la cortt (first i'i\.) :

"A vnestros jj^nstos ofre/co,
Madi'id, este inievo j)lato.
Si OS saht' bicn, Ic tendreis
sicniprc a piinto y sa/onado.
Pero si no es de sustancia
para podelle nniquir,
ojos, que le vieron ir,
no le veran mas en Franeia."

2S20. ijuposihlr: jfiiposihhs in the niannserijit.

2892. ;Bien mi tcrmino agradcccs! "A fine way you have of ap-
preciating my position (my conduct) !" Termino: "vale
tambien forma o modo de portarse, u hablar en el trato
comun." — Dice, dc out. Liseo accuses Otabio of not liv-
ing up to his side of the bargain either. Compare, for
this use of terminn:

"Fuera en tanta amistad termino injusto
no ser don Luis como le aueis pintado."

— Lope: la NocJie dc Sail Juan, I, f. 73r.

2976. es vn cayman: a shrewd, dangerous rascal; it is evident
from Covarrubias that the caiman or alligator had a
bad reputation: "vn pez lagarto que se cria en las rias
de Indias, y sc come los homhtrs que van nadando por
el agua, y por ser el nombre de aquella lengua barbara,
no me ban sabido dar su etimologia ; deve ser a modo de
los cocodrilos, que se crian en el rio Nilo." The Die. de
aid. cites as an example of the definition which I have

LA DAM A BO HA 335

given la Vida dc E.st( h<niilh> (ionzalcz: " I)fX(')iii<' la
tropa de caimanes tan rematado de cuentas, (itic in
llegandose el tiempo de la embarcaeion, liuvc niciifstrr
vender parte de mi recaniara." i)l. 321).

2981. el que viene de Muleyes: Muleij, according to Pedro do

Alcala : Yocahulario EspaFiol-Ardbigo is ecjuivalent to
don. Oehoa's lexicon defines it as follows: "Titulo
que precede al nombre de emperadores y principes de
Marrueeos. " I do not find the word in the last edition
of the Academy's Dictionary.

2982. y a los godos se Icvanta: cf. verse 2295 and note.

2984. versos legos y donados: the poetry of a layman, and un-
worthy of the "profession."

3056-7. que se va amor por la post a

a la cassa del agravio: "Love is easily offended," but
expressed in culto language.

3058-60. . . . las lagrimas solas

de vn homhre Jian sido en el mundo

veneno para nosotras: How women are to be won by
men's tears and protestations forms a prominent fea-
ture of the teachings expressed by Ovid; cf. Ovid and
the Renascence in Spain, op. cit., p. 91 et al.

"Y el Petrarca [dice], entre sus raros
versos, que no hay corazon
de tan duro bronce o marmol,
que no se ablande o se mueva,
rogando, llorando, amando;
ya puede, Hipolita bella,
haber el tuyo tocado."

— Lope: Las Florrs dr don Juan, TL xx.

33(5 \()TI-:s

iJOfiS. /Kiis iiiiii(lnnj(i.' rci'luips Turin meant to say Pandora,
tliinkin}; of licr as an ohjcclionahlc ci-caturi', for, lie
says, "no estoy hien en liistorias." In addition to llic
moaning of ixiiuhtn/a "discord," tiir />/< . dr an I. also
•rives: "Kn estilo festivo y familiar se llama la mu^er
nniy •;ofda. |)essada. dexada y Hoxa en sus aeeiones."
On iKnul(ir(/ti (.•['. <l Pidhhi lojmhi, op. cil., pp. 12 and
L'OS.

:U:]:]. . . . <l Ahazar

If la pu( lite dc Scgohia.

If huho Juanrlos que a d

siihicron aqiio sin ftogas: 1. Tlu^ Alea/.ai': oi- royal palace
of Toledo, now a military academy, was built cliiefly
in the fifteenth and sixteenth centuries, and having been
partly ilestroyed by fii-e on various occasions, has under-
gone extensive restorations. The ])alace stands on the
highest ground above Toledo, and is an imposing sight
when viewed from the valley of the Tagus.

2. The bridge of Segovia : There was no bridge of
this name across the Tagus at Toledo as far as I am
able to learn, and we may assume that Finea, in her
foolish chatter is confusing Toledo with Segovia whose
puente del diablo is one of the great aqueducts of the
world. It is known throughout Spain as the puente de
Segovia., and as a "watercarrier" was associated in
Finea "s mind with the juandos of Toledo. The structure
is a work of Roman times. Cf. Richard Ford's excellent
Handbook for Travellers in Spain (London, 1845), part
2. p. 825.

3. the juanelos ("artificio de Juanelo") : a compli-
cated invention to raise water from the Tagus river to
the Zocodover, the public square of Toledo ; the inventor
was a mechanician and engineer from Cremona, whose
Italian name Giovanni Turriano. endures in its Spanish
form Juan do. He is known not onlv for the above in-

LA DAM A BOB A 337

vention, completed in 1568, but as a makor of elaborate
clocks, in which capacity he became a favorite; of
Charles V. The arli/icio is describcnl at length by
Villalva, in el Peregrino curioso, op. cit., I, p. lf)4; it is
mentioned by Quevedo in his Vida del Buscon, T, cap. 8,
hy Cervantes in la ilustre Fregona, and other contem-
porary writers. Cf . also D. Sisto Ramon Parro : Toledo
en la mano. 2 tomos (Toledo, 1857), II, p. 660ff.

3145. llehaha: instead of the usual llehaua. or llcuaua.

3171. algun: alguen in the manuscript, Avhere Lope's haste made
him anticipate the gue of guesso, the next word.

3174. donde a las que nazen lloran,

y rien a las que mueren: refers to the Trausi, whose
customs are thus described by Herodotus: "Llevo dicho
de antemano que modo de vivir siguen los Getas afani-
zontes (o defensores de la inmortalidad). Los Trausos,
si bien imitan en todo las costumbres de los demas
Tracios, practican no obstante sus usos particulares en
el nacimiento y en la muerte de los suyos; porcjue al
nacer alguno, puestos todos los paricntes alrededor del
recien naeido, empiezan a dar grandes lamentos, con-
tando los muchos males que le esperan en el discui'so de
la vida, y siguiendo una por una las desventuras y mise-
rias humanas ; pero al morir uno de ellos, con muchas
muestras de contento, y saltando de placer y alegria, le
dan sepultura, ponderando las miserias de que acal)a de
librarse, y los bienes de que empieza a verse colmado
en la bienaventuranza." [Vivian los Trausos al pie del
Hemo, en la Mesia inferior. — Nota del Traductor.] Cf.
los Nuere lihros de la historia de Herodoto de Hali-
earnaso; (traducida del griego al castellano por el P.
Bartoloine Pou, 1727-1802, de la comi^ania de Jesus),
2 tomos (Madrid, 1909); 11, libro (luiiito. § iv, j). 7.

338 SOTKS

Two voluiins (ill oMi'^i of this work wrw pi-iiitcd n\
.MjuiiMtl. 1S4(); tlic |)rc.sriit fdilioii is tjikcii from llic
iiianuscripl of tlir autlior. 'riicic were Italian transla-
tions of llcrodotns in IiO|)«-'s day. Imt nont- in Spanish,
as far as I know. On llcrodotns cf. also R. W. Macan,
M. A.: Ih r<i<lotiis. tlic l-'oiiit li. i-'iftli and Sixtli liooks
with IntrotliK'tion, Notes, A|)p('ndi('t's. Indices, Map
(London, 18!)5), p. 155.

3170-80. This dose, aecordinp: to which all the characters are
married, is given a huniorons tnrn hy having the two
men who are left without mates clasp hands. The same
device is not uncommon in the Spanish comedia; cf.
the enil of la Xochc tohdama, and of Santiago cl Verde.

INDEX

a (mechanical omission of), 261,

276, 304.
Acatlemias, 300, 313.
accidente (o elcccion), 310.
acomodarse al tienipo, 329.
Actors and actresses, 251.
agua ardiente, 270.
ajedrez (piezas de), 257.
aladares, 299.
alba, 263.
Aleman, 317.
alma, 329, 330.
amor, deseo de belleza, 282.
amor (loeura, etc.), 283, 293.
auacardiua, 304.
andar por los aires, 305.
aprender (prender), 298.
Arguijo (Juan de), 316.
arrastra, lo que- honra, 273.
arriedro, 282.
asilla, 298.
astrologo, 295.
banda, 319.
basilisco, 259.
boticario, 272.

Bourgeois Gentilhomme (le), 263.
celosia, 304.
Cervantes, 312.
Ciceron (liijo de), 292.
conceptismo. 275, 276.
cuadrado, 279.
cuello, 324.

cuenta de perdon, 332.
cabezadas, 299.
cadenas, 319, 320.
caja, 2o5, 289.

callar (al- llaman saneto), 328.
calle Mayor, 266.
Camoes, 312.
carnestolendas, 270.
cascabel, 298.
Castro (Guillen de), 312.
catreda, 293, 310.
ehapeton, 326.

danias . . . como un vidro, 256.
dinero, 280.
doce. 278.
en for entre, 265.
endiosarse 311.
escuelas, 275.
espiritus visivos, 282.

estrado (sillas, almoliadas), 287,

328.
ostrihos, 257.
fea (Ventura de la), 301.
fiandjre (tocino), 255.
tilo (liar un), 310.
fortuna (tormenta), 294.
gansos (eorrer), 274.
Garcilaso, 311, 333.
godo, 326.

gregiiesco, 320, 321.
giiante (oloroso), 325.
guindas, 253.
hablar en, 289.
lleliodoro, 262.
Herrera, 317.
ihola! 291.
illescas, 252.
jalea, 257.
jerigonza, 273, 288.
'ijo! 289.
juauelos, 336.
jugar del vocablo, 325.
Latino (Juan), 305.
leccion, 256.

libertad (no se vende), 292.
librea del rey, 265.
liga, 321, 327.
Undo, 251, 300.
Lilian, 316.

Luque (obras de), 315.
matamoros, 327.
matamoscas. 327.
matasiete, 327.
medidas (de imagenes), 254.
mentiras, 253.
meuudo, 289.
merieuda, 257.
mudanza, 318.

niujeres (estado social de), 260.
Muley, 335.
nuKjuir, 324.
na'pe (retrato), 284.
negro, 287.

Ochoa (liras de), 313.
oficio, 271.

Pajares (santo de), 299.
])andorga, 336.
Pastrana (duque de), 313.
Pedro (es tan ruin conio su amo),

332.

[339]

340 i\i>i:.\

IMMisiunuMito. C77. servioio, 2ii8.

popitorin. 284. s.stil, 27\).

I'i'trnroa, 311. Siliila fritrca, 1.'74.

pins, 274. soiiihrcro roiiii), 327.

pii'jirs*'. 302. sotaiiilla, 322.

pifza ilo rcy, 2ii4. Taso. 311.

piiio (n-K 272. tt'iinino, 334.

porfi.lo, 2J>S». tiiiii'iido, .304.

postas, 2.">4. trnn/.cliii, 31!).

i'railo, 2!H>. Traiisos (oostuiiilircs do los), 337.

pnii'lia ilo ainiyos, 21>(). trino. 279.

pii.lrf, 2<;0. tiiimlar, :!03.

I)Ui'sto (|iu', 2!KS. li(ipc/ar, 27(i.

jiiiuto.s («los- on el aire), 2r)7. Vof,'a (Lojjo de), 312, 317.

].iino. 324. Volez (Luis), 313.

;tHi6 to dioc? 332. vondaval, 2!»4.

rapaoo.jo, 321. vidro, 299.

KocolotcKs (los), 290. Virjrilio, 311.

rogalos (do amante), 296. vistas, 2."8.

romatlizo, 2(>(i. zapatos al uso iiiiovo, .321, 327.

ninitla. 301. zas, 2(i4.

sala. 317.

PQ Schevill, Rudolph, 1874-1946
6488 The dramatic art of Lope de

•S3 Vega, together with La dama boba
1918